I so enjoyed interviewing the human dynamo that is Jeanne Spicuzza. In the brief hour we had on yesterday’s program we discussed slam poetry in Chicago, Poets Against War, the Jamma Foundation, and her immense respect for the work of Hildegard von Bingen. Jeanne read poems from her self-titled CD and from her book beautiful terrible & true.
Words
allison carter. perpetual motion machine. compilation. accarter.com.
barbara decesare. still life with metaphor; there’s punishment for want. adrift.
charles amirkhanian. just. 10 + 2 : 12 american text sound pieces. other minds.
charles bukowski. another academy. solid citizen. chinaski.
jeanne spicuzza. Labors; m a f i a . jean spicuzza. seasonsandamuse.com.
jesse glass. for ralph lichtensteiger; the skull is a seed. compilation. ahadadabooks.com.
joan labarbara. erin. sound paintings. lovely music.
john cage kenneth patchen. selections. city wears a slouch hat. mode.
larissa shmailo. hunts point counte point. the no-net world.
michael cirelli. vinyl. berzerkeley slam. whole enchilada
murray. dolls on drugs. kxlu. g. murray thomas
nazelah jamison. my love. berzerkeley slam. whole enchilada
Music
bob davis & jon raskin. poison hotel. the aerial v 2. nonsequitur foundation.
jim ni kim. komungo permutations. the aerial v 2. nonsequitur foundation.
koji asano. avalanches. avalanches. solstice.
nobukazu takemura. perch. 10th. thrill jockey
Words
barbara decesare. Treatment; all the fuss. adrift.
christine baczewska. day of the dead. the aerial vol 1. deeplistening.org.
charles bukowski. some people. solid citizen. chinaski.
jean feraca. waking early. compilation.
jesse glass. at 52 years of age; in ears of crusted flint. compilation.
joan labarbara. shadow song. sound paintings. lovely music.
kenneth patchen. state of the nation. reads with chamber jazz sextet. cadence LP.
kenneth patchen john cage. excerpt. city wears a slouch hat. mode.
larissa shmailo. shore. the no-net world.
murray. coast highway contradiction addiction. KXLU.
phil minton. dough song 4. a doughnut in one hand. fmp.
sylvia plath. green rock winthrop bay. sylvia plath reads. caedmon.
urknee and bjurton. fortuitous accidents dreams of retaliation. free gin and tonic poets.
Music
gregory taylor. gulu. amalgam aluminum hydrogen. palace of lights.
john cage. music for two. the piano works I. mode.
Words
barbara decesare. Adrift; A is for apple. emster.com
beth anderson. terero piece. 10 + 2 : 12. other minds
bruce andrews. letters. at Ear Inn 1977. penn sound
charles bukowski. friendly advice. uncensored. caedmon
david moss. africa. moss tales. davidmossmusic
elise kermani. spiral. the aerial vol 4. nonsequitur
harry polkinhorn. bronchitis karate judo; a deck of common playing cards. fire wall of flesh. audio muzixa qet
jackson mac low and anne tardos. free gatha 1 and free gatha 2. open secrets. XI
jeanne marie spicuzza. the openest aviary; woman women i am calling you. jeanne spicuzza. Seasonsandamuse.
jesse glass. o japanese poets. compilation. Also on UbuWeb
larissa shmailo. death at sea; lager NYC. the no net world. CD Baby
Music
john cage. two for violin and piano; one for piano solo. the number pieces. mode
toru takemitsu. toward the sea. chamber music. naxos
Digital poetics: The Making of E-Poetries
Loss Pequeño Glazier
U of Alabama Press, 2002
If twentieth-century art managed to carve new possibilities for painting, sculpture, and music, it was through dropping the ideological baggage of narrative. Writing may be the last theater of this confrontation, says Loss Pequeño Glazier in Digital Poetics: the making of e-poetries.
The digital medium is a real and present form of writing, one that has changed the idea of writing itself, he says. The web is now part of a transformed social fabric and writing will never be the same again.
Glazier founded and directs the Electronic Poetry Center (EPC) at SUNY Buffalo. He brings enormous erudition and great passion to this subject to challenge whatever notions we may have of “poetry” and whatever notions we may have of communication technology.
Link-node hypertext only constitutes a small part of the range of possibilities before us, he says, which also include visual/kinetic text and works in programmable media.
He cautions that one cannot assume that because a work is in digital format it is by definition digitally innovative.
Digital poetry, or e-poetry, includes a number of specific qualities. These include:
* works that cannot be adequately delivered via traditional paper publishing or cannot be displayed on paper.
* texts with certain structural or operative forms not reproducible in paper or in any other non-digital medium (works employing hyperlinks, kinetic elements, multi-layered features, programmable elements, and events).
* digital media works that have some relation to twentieth-century innovative practices.
Digital poetries are not print poetry merely repositioned in the new medium, he says. Instead, they extend the investigations of innovative practice as it occurred in print media, making possible the continuation of lines of inquiry that could not be fulfilled in that medium.
Some examples:
Grep is one of several programs that process input text and produce output, according to user-specified modifiers.
The late Emmett Williams, an early practitioner of programmed poetry, worked in numerous media, and was a founder of Fluxus. He produced writing that operated within constraints such as permutation, repetition, minimalism, and adherence to procedure
Jackson Mac Low used chance-operational and deterministic methods to create works.
Hugh Kenner and Joseph O’Rourke wrote a program called “Travesty” that selects words from source texts by a complex method utilizing English letter combination frequencies to produce random text that mimics frequencies found in a sample.
E-poetry consists of innovative poetic practices in various digital media: It’s writing/programming that engages the procedures of poetry to investigate the materiality of language, Glazier says.
From the viewpoint of innovative practice, “literature” is not a heavenly liquid drunk from a clear crystal goblet, Glazier says. It is the struggle with the goblet that presents the problem—its smoothness, its temperature, the way the concept of the liquid is changed by being in the goblet.
Innovative practice has pioneered not only new media but also new ways of perceiving through a given medium, a practice that has localized art not as a way of representing but as a way of making.
