I'm pleased to pass along information about Bruce Andrews's 25-hour twitter project, April 1, 2014.
Bruce Andrews// 25 Hour Twitter sculpture & performance Curated by Maria Chavez
On April 1st, 2014, Bruce Andrews and Maria Chavez will collaborate on a 25 hour performance piece on the social media platform, Twitter.
After experiencing an intermedia performance of Bruce Andrews late last year, Maria sensed a striking affinity between Bruce's text/ language work and Twitter's interactive focus: short modular posts, limited to a handful of words, with a stress on vivid conciseness, wide open to immediate responses and links to a variety of media.
The Bruce Andrews 25 hour piece is meant to use Twitter as sculptural documentation, becoming a real time archive of Bruce Andrews's current poetic writing and the responses it elicits in real time. Using a social media platform as an exhibition space, Maria Chavez will tweet a Bruce Andrews language text, every 5 minutes for 25 hours. That’s the 300 parts of a new poetic sequence, ‘Improper’, designed and edited for this occasion.
Each twitter post will also have a link leading to a Soundcloud web page made specifically for the piece, with audio recordings of Andrews, performing each tweeted ‘poem’ individually.
We're hoping for lots of interaction — retweets, liking and favoriting, parallel poetic comments, anecdotes, translations, mash-ups, sound files, photos, graphics, video: the internet sky's the limit.
Once the 25 hour time period has lapsed, the Twitter profile will sit on its own, with all of the added links and responses. (Not updating a social media platform like Twitter becomes a gesture towards the 'sculptural' element of the piece. An archive begins to take shape.)
BECOME A SPONSOR
We are asking individuals and organizations in the arts and in the literary world to become sponsors — to commit to sharing and retweeting and reposting about the project. It’s an opportunity to reach a larger audience and network for interaction.
Since the Twitter social media platform is free, your support as a sponsor requires only the ‘invisible’ currency that the Internet has created: better access to social media participation. This project wants to test out a new arrangement with artists and organizations working together, providing value and possibilities of interaction without cost.
To become a sponsor, all you have to do is reply to this email address [mariadchavez@gmail.com] with the statement “I agree to the sponsorship terms and will participate in BRUCE ANDREWS 25 Hour Twitter Sculpture.” Make sure to include this letter in the body of the text.
RESPONSIBILITIES OF A SPONSOR
In the next few weeks, each sponsor will receive an email from Maria Chavez outlining #hashtags and links to past work. During this time, the goal is to sketch out some background and share some history of Bruce Andrews’s text and performance works. The project will require no more than 3 social media posts and/or tweets per sponsor, a week prior to the event.
The day of the 25 hour performance will require no more than a few retweets and posts of the Twitter performance link, per sponsor. (Of course, we’d love for sponsors to do more announcing and retweeting — ‘more’ is always welcome.)
There are so many layers that can come into play when thinking about social media and its possible relationships to artists and organizations. With your participation, this project can help to push forward a new form of interacting and presenting when it comes to art and intermedia on the internet.
We look forward to your working with us, and signing up to follow us now on Twitter & Facebook.
'LunaLuna' post on 3/3/2014 about the dial-a-poem service provided by the Kelly Writers House [permalink: http://lunalunamag.com/2014/03/03/3-poetry-hotlines]
“Years ago," writes Alyssa Morhardt-Goldstein at LunaLuna on March 3, 2014, "when I would get overwhelmed, I used to call the Kelly Writers House and listen to a poem wherever I happened to be. They feature poets who have read for them, as well as their own faculty and students (the latter at a different extension)." The number is 215-746-POEM (215-746-7636). She also provides information for two other dial-a-poem services.
Miranda Pearson moved to Canada from England in 1991 and has made many important contributions to the literary scene in Vancouver, BC through her work as an editor, teacher, and poet. Pearson’s poetry has been published widely in literary journals and anthologies, including The Bright Well: Contemporary Canadian Poems about Facing Cancer and Forcefield: 77 Women Poets of British Columbia. The Aviary, Pearson’s second book of poetry and the winner of the Alfred G. Bailey Award in 2006, is an intriguing collection in its progression from shorter poems with more recognizable lines of verse to longer poems that dance to the very edges of the page with increasing finesse and innovation. Amid all the Dickensian by David Lean greyness in quizzical stills from Westerham to the West Coast of Canada, the might and charm of Pearson’s lyric personality is certainly a silver lining woven through each silence upon the page. As Robert Kroetsch indicates: “I delight in these poems. Their verbal strategies, their echoes and replies, their life-givingness.”
The Aviary by Miranda Pearson (Oolichan Press, 2006, Page 54)
You were not born for this. You have always
gone too far, stretched thin the miles
till nothing and no one could reach you.
This elongated winter has ground on
for too long, contentment has been refused
like food or the delicate wrought-iron chair
you prefer to leave tipped over, with its
small burden of snow.
For years you have been a child in the dark, searching
for clues, believing you were not wanted but
if you were good you might be safe. And the inverse of that.
Geomantic Riposte: Bananas
For the warbride, it must have been a shock from sea to sea
railing on through all that nothing and winter nothing Held
in her husband’s arms outside the CN station and snapped on
the front page next to that riveting piece WARBRIDE BABIES
FEAR BANANAS probably the conquest of the new world
was a bright pamphlet with sexy cartoons shiny bullets
about the finer points of plots that were not theirs to shill
in this limited-time offer subject to Depression and snow
A Dagenhamite Jew and an Irish cop is kind of cliché come
Christmas when “diversity” smashed a window to bring the
tree inside Yes they looked happy next to words and facts
checked, when The Vancouver Sun did its caryatids proud
When I was thinking about a motif or query that could help focus my Commentaries here at Jacket2, I kept returning to a central question about time. The way that we experience and imagine time is directly shaped by the quality of our attention and the terms of our engagement. There are many areas of interest through which I could engage this experience of time (film, for example), but while commentating here, I shall limit myself to the way that language operates in poetic contexts.
I decided to title my series TIME TEXT BODY NOISE because these elements are all centrally linked in how I am coming to understand the production of time as a poetic experience. Embodied realities inform how time proceeds for us when we encounter a work, but there are also historical and discursive habits that engineer time for us as readers, watchers, and listeners of poetry...the short breaks on the page as synaptic observations mirroring the spoken phrase in Creeley’s work, for example, or the way Myung Mi Kim’s lines begin to “cohere” like fallout or debris from a slow-moving explosion in what constitutes a different sort of “dailiness” in her book Commons.
One quick example of this that I'll use as a way of opening is from Truong Tran's 2004 collection, within the margin (Apogee). The title poem is composed almost entirely of one long line that becomes a horizon on the page. As a reader, I feel an interminabiilty in the line that suggests density. All events get thrown into this horizon together. The line reads and feels as if it will never end. This begs the question to me--what is complete? What has deeper "value" in this flattening, endless, running time?
The Manifestos and Essays from Theater Communications Group, from Theater Communications Group -- includes all Foreman's early essays, starting in 1972 (from Performance, October, TDR, PAJ) plus two new interviews and "film notes."
Plays with Films, ed. Rainer J. Hanshe, intro. George Hunka .Texts of the final three productions of Richard Foreman’s Ontological-Hysteric Theater at St. Mark’s Church-in-the-Bowery: Zomboid! (2006), Wake Up Mr. Sleepy! Your Unconscious Mind is Dead! (2007), and Deep Trance Behavior in Potatoland (2008).
Bruce Andrews' 25-hour twitter project
I'm pleased to pass along information about Bruce Andrews's 25-hour twitter project, April 1, 2014.
Bruce Andrews// 25 Hour Twitter sculpture & performance
Curated by Maria Chavez
On April 1st, 2014, Bruce Andrews and Maria Chavez will collaborate on a 25 hour performance piece on the social media platform, Twitter.
After experiencing an intermedia performance of Bruce Andrews late last year, Maria sensed a striking affinity between Bruce's text/ language work and Twitter's interactive focus: short modular posts, limited to a handful of words, with a stress on vivid conciseness, wide open to immediate responses and links to a variety of media.
The Bruce Andrews 25 hour piece is meant to use Twitter as sculptural documentation, becoming a real time archive of Bruce Andrews's current poetic writing and the responses it elicits in real time. Using a social media platform as an exhibition space, Maria Chavez will tweet a Bruce Andrews language text, every 5 minutes for 25 hours. That’s the 300 parts of a new poetic sequence, ‘Improper’, designed and edited for this occasion.
Each twitter post will also have a link leading to a Soundcloud web page made specifically for the piece, with audio recordings of Andrews, performing each tweeted ‘poem’ individually.
We're hoping for lots of interaction — retweets, liking and favoriting, parallel poetic comments, anecdotes, translations, mash-ups, sound files, photos, graphics, video: the internet sky's the limit.
Once the 25 hour time period has lapsed, the Twitter profile will sit on its own, with all of the added links and responses. (Not updating a social media platform like Twitter becomes a gesture towards the 'sculptural' element of the piece. An archive begins to take shape.)
BECOME A SPONSOR
We are asking individuals and organizations in the arts and in the literary world to become sponsors — to commit to sharing and retweeting and reposting about the project. It’s an opportunity to reach a larger audience and network for interaction.
Since the Twitter social media platform is free, your support as a sponsor requires only the ‘invisible’ currency that the Internet has created: better access to social media participation. This project wants to test out a new arrangement with artists and organizations working together, providing value and possibilities of interaction without cost.
To become a sponsor, all you have to do is reply to this email address [mariadchavez@gmail.com] with the statement “I agree to the sponsorship terms and will participate in BRUCE ANDREWS 25 Hour Twitter Sculpture.” Make sure to include this letter in the body of the text.
RESPONSIBILITIES OF A SPONSOR
In the next few weeks, each sponsor will receive an email from Maria Chavez outlining #hashtags and links to past work. During this time, the goal is to sketch out some background and share some history of Bruce Andrews’s text and performance works. The project will require no more than 3 social media posts and/or tweets per sponsor, a week prior to the event.
The day of the 25 hour performance will require no more than a few retweets and posts of the Twitter performance link, per sponsor. (Of course, we’d love for sponsors to do more announcing and retweeting — ‘more’ is always welcome.)
There are so many layers that can come into play when thinking about social media and its possible relationships to artists and organizations. With your participation, this project can help to push forward a new form of interacting and presenting when it comes to art and intermedia on the internet.
We look forward to your working with us, and signing up to follow us now on Twitter & Facebook.
https://twitter.com/BruceAndrews25h
www.facebook.com/BruceAndrewsTwitterProject
'LunaLuna' on poetry hotlines
“Years ago," writes Alyssa Morhardt-Goldstein at LunaLuna on March 3, 2014, "when I would get overwhelmed, I used to call the Kelly Writers House and listen to a poem wherever I happened to be. They feature poets who have read for them, as well as their own faculty and students (the latter at a different extension)." The number is 215-746-POEM (215-746-7636). She also provides information for two other dial-a-poem services.
Geomantic Riposte: The Aviary
Miranda Pearson moved to Canada from England in 1991 and has made many important contributions to the literary scene in Vancouver, BC through her work as an editor, teacher, and poet. Pearson’s poetry has been published widely in literary journals and anthologies, including The Bright Well: Contemporary Canadian Poems about Facing Cancer and Forcefield: 77 Women Poets of British Columbia. The Aviary, Pearson’s second book of poetry and the winner of the Alfred G. Bailey Award in 2006, is an intriguing collection in its progression from shorter poems with more recognizable lines of verse to longer poems that dance to the very edges of the page with increasing finesse and innovation. Amid all the Dickensian by David Lean greyness in quizzical stills from Westerham to the West Coast of Canada, the might and charm of Pearson’s lyric personality is certainly a silver lining woven through each silence upon the page. As Robert Kroetsch indicates: “I delight in these poems. Their verbal strategies, their echoes and replies, their life-givingness.”
The Aviary by Miranda Pearson (Oolichan Press, 2006, Page 54)
You were not born for this. You have always
gone too far, stretched thin the miles
till nothing and no one could reach you.
This elongated winter has ground on
for too long, contentment has been refused
like food or the delicate wrought-iron chair
you prefer to leave tipped over, with its
small burden of snow.
For years you have been a child in the dark, searching
for clues, believing you were not wanted but
if you were good you might be safe. And the inverse of that.
Geomantic Riposte: Bananas
For the warbride, it must have been a shock from sea to sea
railing on through all that nothing and winter nothing Held
in her husband’s arms outside the CN station and snapped on
the front page next to that riveting piece WARBRIDE BABIES
FEAR BANANAS probably the conquest of the new world
was a bright pamphlet with sexy cartoons shiny bullets
about the finer points of plots that were not theirs to shill
in this limited-time offer subject to Depression and snow
A Dagenhamite Jew and an Irish cop is kind of cliché come
Christmas when “diversity” smashed a window to bring the
tree inside Yes they looked happy next to words and facts
checked, when The Vancouver Sun did its caryatids proud
Time Text Body Noise
The way the line never ends
When I was thinking about a motif or query that could help focus my Commentaries here at Jacket2, I kept returning to a central question about time. The way that we experience and imagine time is directly shaped by the quality of our attention and the terms of our engagement. There are many areas of interest through which I could engage this experience of time (film, for example), but while commentating here, I shall limit myself to the way that language operates in poetic contexts.
I decided to title my series TIME TEXT BODY NOISE because these elements are all centrally linked in how I am coming to understand the production of time as a poetic experience. Embodied realities inform how time proceeds for us when we encounter a work, but there are also historical and discursive habits that engineer time for us as readers, watchers, and listeners of poetry...the short breaks on the page as synaptic observations mirroring the spoken phrase in Creeley’s work, for example, or the way Myung Mi Kim’s lines begin to “cohere” like fallout or debris from a slow-moving explosion in what constitutes a different sort of “dailiness” in her book Commons.
One quick example of this that I'll use as a way of opening is from Truong Tran's 2004 collection, within the margin (Apogee). The title poem is composed almost entirely of one long line that becomes a horizon on the page. As a reader, I feel an interminabiilty in the line that suggests density. All events get thrown into this horizon together. The line reads and feels as if it will never end. This begs the question to me--what is complete? What has deeper "value" in this flattening, endless, running time?
Essential Foreman: Two new books by Richard Foreman
The Manifestos and Essays from Theater Communications Group, from Theater Communications Group -- includes all Foreman's early essays, starting in 1972 (from Performance, October, TDR, PAJ) plus two new interviews and "film notes."
Plays with Films, ed. Rainer J. Hanshe, intro. George Hunka . Texts of the final three productions of Richard Foreman’s Ontological-Hysteric Theater at St. Mark’s Church-in-the-Bowery: Zomboid! (2006), Wake Up Mr. Sleepy! Your Unconscious Mind is Dead! (2007), and Deep Trance Behavior in Potatoland (2008).
Ontological Hysteric Theater page
PennSound page (including Close Listening shows)
EPC page
Charles Bernstein in conversation with Richard Foreman