Physio-digital responses to the digital

Stephen Vincent's haptic drawings of the sound of poets reading

Al Filreis

Stephen Vincent, "Haptic: CA Conrad Reading at Nonsite," September 12, 2009 (Ink on paper, 7.25 x 11")

The visualization of the sound of Charles Bernstein’s recording of “1-100” (1969), which I presented in a recent commentary titled “Anti-ordination in the visualization of the poem's sound,” struck artist, poet, maker of books Stephen Vincent as interestingly relevant to “haptic” drawings he has made while listening to various poets reading their work in the Bay Area, and I agree. He has called this activity drawing by sound (rather than of). “I like comparing my ‘physio/digital’ responses to the digital electronic ones,” he has written to me. “I think it interesting to compare the ways where the hand will go and the electronic will not. As a graphic designer, looking at my work recently has suggested: ‘Analog is the new Avant Garde’!” Vincent has made some of these haptics available through his web site:

http://www.stephenavincent.com/galleries/PoetryReadings/

He deems these haptics a version of close listening. He has done about fifty such pieces, and they befit work he’s done in a wide range of other environments and occasions; his generic description of the work is “Poetry By Other Means.” Readers are encouraged to look back at Jacket #36 (2008), where Vincent's "Ocean Beach" was published from Vincent's After Language/Letters to Jack Spicer, a book-length manuscript of letters to the poet somewhat in the manner of Spicer’s After Lorca, including poems improvised or “transversed” directly from poems in Spicer’s Language. Other work from the manuscript appeared in New American Writing and MimeoMimeo. The drawings appeared in an exhibit of the poet’s haptics (drawings by sound) in January-February 2009 at the Brauntstein Gallery, San Francisco.

March 18, 2014

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DIGITAL PEDAGOGY: This was a magazine story published in 2001 about my use of e-media in teaching. “Postmodern poets focused on the process of their poetry, rather than on what the words in their poems actually said. The purpose was to make poetry and language new again. There's no better way to describe Filreis's teaching style. He uses technology to free class time for discussion, which to Filreis is more important than the course material itself. The point is to develop his students' ability to think critically, not to have memorized every last fact about Gertrude Stein. And yet, he said, through that active engagement with the material, students end up remembering more of the content.”

Click on the image.

ASHBERY PERFORMS STEVENS: In October of 1989, John Ashbery went to St. John's the Divine Cathedral in New York to be part of the induction of Wallace Stevens at the Poets' Corner. There was a vespers service and Ashbery read six sections of Stevens's "An Ordinary Evening in New Haven." Imagine that--that poem read at a vespers service! Anyway, I certainly don't know of another recording of Ashbery performing Stevens. Stevens was a fairly bad reader of his own poems. Ashbery is deemed by many to be an indifferent reader of his poems. (I don't agree, but understand the point.) But here, reading Stevens, Ashbery is marvelous. Here is a 7-minute recording of sections 3, 5, 12, 17, 18 and 30 of the Stevens poem that comes closest to real serial writing (seriality at the level of the section, anyway).

THE (ANTI)MODERN PRESIDENT. After looking at an abstract mural at the U.N. then President-elect Eisenhower said, “To be modern you don't have to be nuts.”

THE END OF THE LECTURE & PLANNING TO STAY. As often as I can, I call for the end of the lecture as we know it. I'm pretty serious about this - not often exaggerating on the point. Click here for one of many forays into the topic. Once you're there, click on the "end of the lecture" tag for still more. My thoughts on institutional politics and the arts were presented in a manifesto called "Planning to Stay" (published as a pamphlet by No Press); the text of that talk is available here.

KELLY WRITERS HOUSEPhiladelphia's PBS affiliate, WHYY-12, produces a TV show that in each episode features four centers for the arts and creativity in the Philadelphia region. For its winter 2010-11 program, the show devoted 15 minutes to the Kelly Writers House in a segment called “The Creative Campus.” To watch the video, click on the image above.

REPRESENTATIONS OF THE HOLOCAUSTI dislike Spielberg’s Schindler’s List intensely. It's a film, I think, that is very friendly toward sovereignty. For more on this minority view, click on the image above. I teach a course at Penn on representations of the Holocaust in literature and film every other fall semester.

In 2003 I founded and continue to direct the Center for Programs in Contemporary Writing at the University of Pennsylvania. CPCW brought together the university's writing programs and projects: Critical Writing, Creative Writing, the Kelly Writers House, PennSound, RealArts@PENN, Writers Without Borders, Creative Ventures, Jacket2, and more. For information and links to each of these projects, click on the logo above.