It's the R

From Wikipedia (R-colored vowel):

In English, pronunciation of /r/ is difficult, and it is one of the most frequently misproduced sounds for a number of reasons including:

• It can be either consonantal or vocalic;
• There is no single defined way to produce the sound either by manner or place of articulation;
• It tends to be a later developing sound; and
• Correct pronunciation is not dependent upon spelling.

Listening to Blueprint 3 this week and thinking about Jay-Z's use of the sound and letter "R". He usually pronounces it as the non-rhotic "ah", "aw", or "uh"; sometimes pronounces it with exaggerated breathiness; sometimes using "Standard" pronunciation, but exaggerating it to still sound "wrong" (such as in the song "Haters" and "Reminder") echoing Andre 3k's similar heavy rhotacization of the phoneme in the song "ATLiens".
________
____


Rakim "the god" has an album called 18th Letter (which is "R", to save you some counting), and a song (off a different album) called It's The R (which is the song I'm about to talk about).

Rakim is the pioneer and master of "written" hip-hop ("the paragraph ambassador").

To give some example of how he plays with letters and sounds (relating this to his godhood):

he plays with tenses of the verb "to be" and the first and last letters of his name. RakiM. The "R" as "are"; the M as "am". (He calls himself "the god"). Other times, the first two letters of his name "Ra" (Egyptian god of the sun), and the last two "I" and "M" pronounced to sound like "I am". Not only this, but just this play with "first" and "last" letters invokes the phrase "the alpha and the omega".

In the song It's The R, he spends the first verse throwing out letters, acronyms and spelling out words. The second, he forces all sorts of words to rhyme with his pronunciation of the letter "R".

Even the producer/DJ (can't find the credits right now) on this song plays with the /r/. The scratching of the main sample often sounds like an /r/ sound inserted chaotically into words. And as the the sample plays out at the very end ("I'm the most popular demanded | rap classic") the "R" in the word "rap" is scratched back and forth for several seconds.

listen:

Charles Bernstein on "disjuncture"

From My Way: Speeches and Poems:

(I like the idea of semi-autonomy as opposed to disjuncture. The paragraphs can't really stand alone. They're dependent on what comes before and after. But, still, they have some qualities of autonomy or completeness. A bit like you and me after all.) ...

Of course, I'm not scanning a single discrete object or scene. But the idea of torquing or twisting or permuting or turning or curving of angles or points of view gives you some idea of the prose prosody I'm proposing.
Now a turn or curve--that's not disjuncture. The elements are related. It's not collage.--You're driving down the street and you take a right turn. You feel the turning, the contingency of the connection as you switch directions. Or you could drive into a traffic circle and come back to where you were. You're going down the road and hit a traffic circle and loop back around to the road you were just on, except, looking at it from the other direction, it doesn't seem the same, as if it ever could. I retrace my steps to where I started, and then I realize that the essay must over.
So that's different from the rupture of radical or extrinsic parataxis, which provides a different kind of modulation, contour, and discontinuity. The relation between paragraphs is more about continuity than discontinuity but it allows a shift in its path while still continuing on, still relating to what happened before.

naïve poetry statement of the day:

Joseph Duemer said:

Scientists have little trouble determining what is and what is not science. Is poetic discourse fundamentally different?

My respective responses to those sentences are "wat?" and "yes".

To the last 6 people who found my blog from Google searches:

just trying to be helpful:

porno hgei: Did you perhaps mean "porno hygiene"? Here is a video of pornstar Belladonna talking about that.

slow rap to listen to at work: Hmm, not really my thing for the most part. I'd recommend Lil Wayne right away. A little more old school, I'd recommend De La Soul, Tribe Called Quest, and older Kilo. The Blue Scholars can be pretty chill if you like "alternative" hip-hop. If you're looking for more recent stuff, I guess Twista, T.I., T-Pain might be people you want to check out (Akon and Chris Brown too, but they're not strictly rappers).

blogspot communist poem: I suppose that yes, this might be how Glen Beck would describe my blog. Here is a list (by a local Ypsilanti politician) of things that are communist. I think it's a poem. I like that my blog is the number 1 hit for the search term "communist things".

do i have to learn latin to be a writer: God no, I'm so sorry anyone told you that.

ddddddddddddddddddddddddddddddddddddddddddddddddddddddd xxxexxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx: Hard to say what you might be looking for. For some reason, the number one search term that brings people to my blog is a long unbroken string of dddddd's. I mean, I did that poem where I "walked" home using the WASD directional keys, but for some reason no hits for long unbroken stings of W's or A's, and only a couple for sssssssssssssssssssssssssssssssssssssssss. Weird.

take the mustache back from hipsters: Dude, no. This is not going to work. I suppose you could try to get frat boys to grow mustaches, but really, your attempt to make the mustache into a "sincere" style will only make it more ripe for hipster parody later. Just relax and kick back with whatever facial hair makes you happy. Or you could do what I did when I had a mustache: Go through fire academy just to get away with the non-hipster stache. I mean, you think I did that shit to get a job? In Michigan? I'd have to be a complete moron to think that were even possible.

3:57 PM me: chiang

3:58 PM nevermind

Theresa: oh okay. i'll put it out of my head.

18 minutes

4:16 PM Theresa: this has probably been done before, but I'm writing poems made of youtube comments

if anything, its a real blast to retype these al out

me: that's called flarf

Theresa: oh righto

4:17 PM me: no

whatever

Theresa: do they do that all the damn time?

me: not really

Theresa: oh good

I mean, I don't mind flarfing

I think its awesome

me: don't worry

Theresa: just I dont wanna be all like oh look at me, I'm doing something over and over again

me: are you mixxing them, or just taking some lines heres and there

4:18 PM Theresa: EAch videos comment thread is a poem

me: ah,

tha's more conceptual poetry

4:19 PM Theresa: where are you drawing the line?

me: why do i have to?

Theresa: just for my own knowledge

you don't need to, I was just curious

me: but ok, i'll try

Theresa: i wasn't saying it bitchy like, I was saying it curious like

me: the emphasis is on you as a reader

4:20 PM so conceptual

you're not changing it in any way, just appropriating

Theresa: ah ok, and flarf is more like a remix?

me: i like your style of casual conceptual poetry

yeah

it's collage, but not even necessarily

4:21 PM sometimes it's "composed"

there aren't really necessarily any standards

but it's certainly a new creation

Theresa: sure. you'd hope movments like this aren't created by hard and fast rules

me: right

4:22 PM Theresa: but what I'm trying to do through this is to displace text from its original location in order to get the reader to read it differently then they normally would, so by your definition, i'd say deffo conceptual

me: but even my rashboy poem is too close to the sources to be flarf in my opinion

yeah

fosho

4:24 PM Theresa: I think I want to do a whole series of just youtube comments from videos of people popping zits

this one is the best

4:25 PM me: nice\

4:26 PM Theresa: K i posted it, if you wanna check it out

I'll probably do more later

me: kay\

[The poems can be found here]

4:30 PM I'm never eating union rings again

these are great

7 minutes

4:38 PM Theresa: yeah union rings was my fav

4:39 PM me: pretty awesome

15 minutes

4:54 PM Theresa: what are shoooe doing?

4:56 PM me: i was thinking of writing more about dumb arguments about flarf then i realized that i hate myself

Theresa: oh god

4:57 PM sounds like a nice afternoon

I tihnk your flarfuments are exciting

4:58 PM me: i'm glad you think so

really

4:59 PM i had a weird exchange with someone yesterday.

https://www.blogger.com/comment.g?blogID=17923046&postID=6547141745670786547

it's mostly short

5:00 PM Theresa: can I go pee first, and then read it?

me: you don't even have to read it

26 minutes

5:26 PM Theresa: read it

5:27 PM it seems liek in comment threads you always end up being the apologetic one

maybe just to avoid being a dbag like everyone else. though this guy didn't seem liek an ass.

me: yeah, i was there more cause it was someone else's blog who i didn't know,

no, not an ass at all

5:28 PM but i's kinda rolling my eyes as i apologized

Theresa: oh you should have done the "rolling my eyes" sign

it's like ooOOoo

me: cause i'd said what i meant 3 times and i don't know if it went over his head or what

5:29 PM to say something isn't "significant in an innovative sense" is an entirely modernist thing to say

5:30 PM Theresa: yeah and I feel like it makes sense what he's saying

me: which is fine, but he then claimed not to be assessing flarf in terms of modernist values

Theresa: that flarf isn't innovative, and that's okay, because we don't need innovation

oh okay

I see

5:31 PM me: it's not even that we don't "need" innovation (in my view), it's that innovation is a veil, it's a conceit

Theresa: though does that rtrrffrfffffffffffgggggggggggfffffreally nulliy his point?

5:32 PM sorry trying to get my f key back in

5:34 PM ugh so frustrating

me: i don't mean to nulliy his point, but it seems weird to use modernist terms to judge flarfs "significance"

5:35 PM Theresa: i got avocado on it so I pulled it out to wipe it off and now I can't get it back in

however, I can still push the f key

me: weird

yeah

Theresa: fff

me: fff

Theresa: i think it's just that I don't know what I'm doing

oh dammit. now I think it's broken

5:36 PM me: jfrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrf

I just took off my f key and put it back on

no problem

Theresa: rddddddddddddddddddddddddddddddddddddddd

5:37 PM that was me trying to get it back in

me: just press it down, what's the dillio

Theresa: cthere's these little white brackets

me: yeah

put key in place press down

Theresa: and they won't really hook on ina sensical way

5:38 PM I mean I see how they're supposed to go, but they aren't doing it

me: hmmmmmmmmmmmmmm

5:41 PM gchat keeps saying your typing, but you're really just failing to put your key back into your keyboard, "theresa has entered text"

Theresa: dddddddddddddddddddddddddddddddddvggdddddddddddddddddddddddddddddddddddddddddddddddddddddddvrggggggggggggggggggdgvccfffffffffffffffffffffffffffffffffrrfffffffffffffffffffffffffffffffffffffffffffffffff

thats what I've been saying

me: yeah, that's what i thought

Theresa: ffffffffffffffffffffffffff

ffffffffffffffffffffit should

5:42 PM it should say "Theresa is failing to put her in f key in correctly"

ffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffnow it's hal in

crrrccc

me: i'm sure google is watching now and will make the proper adjustmenst in the future

o god goo

Theresa: oh good

me: d

Theresa: I almost put it back in upside down

5:43 PM me: ha ha

5:44 PM Theresa: vddrdddddddddddddddrit's really gross the things taht are inside keyboards

urghr

me: yup

5:45 PM are you cleaning your keyboard now?

5:46 PM Theresa: vrtdrdgddggggggggggggggggggggggggggggggggggggggi'm sort od bvlowing on it as I go

"od" isbecasue I can't push the "gh" key right now

"gh" is a subsitute

"d" is also subsituting

5:47 PM me: hopefully bvlowing is what you meant though, cause it works better

i am saying it right now over and over

bvlowing

bvlowing

bvlowing

donw

done

5:48 PM Theresa: ddddddddddddddd

I'm so fucking frustrated right now

pushing on the little f nipple

me: thatsucks

5:49 PM i thought it was in, but looking back you said now it's hal in, which probs meant half

i mean, it should just snap in

by pressing it

down

5:50 PM Theresa: gvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvrffgrrrcccfdgffffffffffffffgrfffffffffffffffffffffffffffffdfffffffffffffffrfffffffffffffffffffffffffffffffffffffff

not snapping

like I have the hooky end in

me: rrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrfffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffff

5:51 PM just took mine out again and put it back

just follow those letters and it should work for you

your problem is you keep going gvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvrffgrrrcccfdgffffffffffffffgrfffffffffffffffffffffffffffffdfffffffffffffffrfffffffffffffffffffffffffffffffffffffff

which is wrong

5:52 PM Theresa: hm good point

so focus ont he r

rrrfffffffffffffffffffffffffffffffffffffffg

ian's here I'm goinna to let him look at

me: he'll fix it immedieatly cause he's a genius

a computer hardware wizard

6 minutes

5:59 PM me: hows it looking

6:01 PM Theresa: rr vDD D GgDFDDDDRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGDFFDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDRRRRRRRRRRRRRRRRRRRRVVVVVD3FFDMDDDDDMDDDDggggggggggdDDD

me: no no no

that's wrong

6:02 PM it's rrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrffffffffffffffffffffffffffffffffffffffffff

though capslock was a good idea

15 minutes

6:18 PM Theresa: fffffffffffffffffffffffffrfcrrcffffffffffffffffdfdffFFFFDGddddGGgggeseeggVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVGGGGGGGGGGGGGGGGGGGGGGGGCCgxdDDesssssDXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXSddeddgsgGGGGGGGGGGQBAAAAAAAAAAAAAAAAABDBBBBBBBBBBBBBBBBBBBBEDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDBBHDDDDDDDDDDDHBH 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 dd dvctdddddddddddddddddddddddrrvttttttttrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrvvdgkklkpo9ooooo0oo9z.ddddddvvvvvvvvvvv.vvvvrvvvvvvvvvvvvvvvvvvvvvvvvvvvvdvvrrfffffffffffffffffffffdffr

me: ending on r doesn't look good

28 minutes

6:47 PM me: aight

i'm out

These messages were sent while you were offline.

7:35 PM Theresa: gfff rcgcgldddgdxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxsxsxssccxcxcxccccccccccccccccccccccccccccccccccccccccccccdgcgdx,gxxmxzzzzzzzzscCZKKqa,,g,1dkkddddkkkkkkkkkkkkkkkkkkkkkkkkkkkkkggcccccccccevdugGddddddddddddddddddddddddddddGHgggggggggggggggggggggggggdddddddddddddddddidddddddddddCDCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCXXXERGDXGGD ffgDgDDDDDDDDDRDRbdDdDDGDg9ggggggggggggggggggggdGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGX CFggdcrrcgggggggggggggggggggggggggggggggggggggggggggggggggggnjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjgnggggggggggggggggggggggggggdBdrbbhhhhhhhhhhhhhhhhhhhhhhhhhhhhdCCRRCggggggggggggggggvvvvvvgvgdfddddddddddddddddddXDCdggfddx,ggd,d,DDDDDDDD,G,,,,,,nkgnknnknndcraccccccccccccddcddcgdd,

he eventually fixed it

so in honor of it being functional

fuck you you fucking fuck

disjunction clarification

I didn't mean to suggest, as it may have seemed in my last post, that I think that there weren't important changes taking place in modernist poetry.

I just think with all this talk of whether disjunction is dead or alive or whatever, it's important to note that what's different in modernism is not the presence of disjunction, but the conscious portrayal of disjunction.

some thoughts on disjunction

Kenny Goldsmith, Anne Boyer, and Nada Gordon are talking about "disjunction".


--when I write blogs or "prose", it is when I am collaging material together the most. I write sentences and ideas as they occur to me. I stop one thought in the middle to go start another one, then stop writing that one to go finish the initial one. Then I sort of copy and paste these random thoughts together. None of my blogs show you sentences as I originally conceived of them. And this is "normal". Most people write like this (at least to some extent).

--The experience of reading my poetry, on the other hand, is so disjunct precisely because they tend to be linear representations of my writing process.

--There can ever be any poem so disjointed that it doesn't become a pattern when it is read a second time.

--I think "disjuntion" is too unspecific, especially when applied to Modernism as we often want to do. It is wrong, I think, to say that what is unique about, say, the Waste Land is that it draws upon multiple "disjunct" sources and collages them together.

I mean, this is the foundation of language, the metaphor. Take two dissimilar things and compare them for the purpose of creating more meanings.

--I seriously doubt that an given Shakespeare play draws from less disjunct sources than T.S. Eliot.

--As I'm writing this, The Waste Land seems much more like an early expression of globalization than an early expression of "disjunction".

--Modernism was not, then, the era of "disjunction". Rather, modernism expanded the repertoire of junctions that language/art/poetry is "allowed" to make.

and "changed" might actually be a better word to use than "expanded".


--What bothers me on some level about the words "junction" and "disjunction" being used to describe poetry/language/etc. is that it implies that there is some "true" or "real" fabric that is being cut up and spliced together in various ways.

It gives this idea that a collage is somewhat less of a "real thing" than the things it splices together.

As if language were "whole" before modernism.

--In my reading, what the modern/post-modern poetries do is not make language disjunct, but embrace language as disjunct.

In this sense, I don't read Kenny Goldsmith saying "disjunction is dead" as meaning that the disjunct experience of language is dead. Rather what is "dead" is the need to constantly portray language as disjunct.

--Language, whether it is in "normative syntax" or "disjunct syntax" is entirely fabricated.

--Disjunction seems to have more to do with the experience of a thing rather than with the thing's making.

________
_____

Modernism/postmodernism failed, on some level, to reveal language as constant disjunction.

This is seen at some level in the poetry of the American Hybrid, whose editors set up this dichotomy between pure "sense" (inhabited by the "SOQ" and "traditional" poetries) and pure "nonsense" (inhabited by "experimentalists" and langpo). By identifying a "hybrid", what really happens is that a conservative view of language/poetry tradition as a stable structure is reestablished.

And by creating such forcefully disjunct reading experiences, modernism/postmodernism actually (albeit unwittingly) enforced the idea that everything before was "whole" and "coherent".

That's not intended to be a "calling out" of modernism/postmodernism. I tend to love what I just called "forcefully disjunct reading experiences". It's just that I reject the characterization of disjunction as having been new or unique to the modern period.

anyway...

memorabilia

mmmmmmmmmmm
uuuuuuuuuuuuuuuuu
mmmmmmmmmmm

nnnnnnnnnnnnnnnnn
uuuuuuuuuuuuuuuuu
mmmmmmmmmmm

re-fusing notions that refuse is not entertaining

from Adam Fieled's Blog responding to Nada Gordon about Flarf's "value":

"I refuse to entertain the notion that good art does not need to be memorable. Period."

__________
_______

some problems:

"I" refuse to entertain the notion that good art does not need to be memorable. Period.
I "refuse" to entertain the notion that good art does not need to be memorable. Period.

I refuse to "entertain" the notion that good art does not need to be memorable. Period.

I refuse to entertain "the notion" that good art does not need to be memorable. Period.

I refuse to entertain the notion that "good art" does not need to be memorable. Period.

I refuse to entertain the notion that good art does not "need" to be memorable. Period.

I refuse to entertain the notion that good art does not need to be "memorable." Period.

I refuse to entertain the notion that good art does not need to be memorable. "Period."
I refuse to entertain the notion that good art does not need to be memorable. "Period".
I refuse to entertain the notion that good art does not need to be memorable"." Period"."

. Period.

that's PERIOD SPACE "Period" PERIOD


I refuse to entertain the notion that I do not, at any given moment, entertain a notion that I had previously refused to entertain.
I refuse to entertain the notion that I can remember what notions I was supposed to be refusing and why it was that I was supposed to be refusing them.

I refuse the notion of "memorable", but will gladly "entertain" it (no period

. . .

Is this is a proposition that there is a direct correlation between "memorable" and "good". Can we use google trends to figure out what art is the best?

Is there no great art that is not remembered?

If there is great art that has been lost, perhaps there is not a necessary correlation between how "remembered" a work is and how "memorable" it is?

Does a poem that is "memorable" upon one reading necessarily have more value as "good art" than a poem that needs to be read twice?

How is "memorability" not completely reliant on a given power system's promotion?

How can how "memorable" something is tell us anything more than the biases of whatever individual or group that "remembers"?

. . .

I fuse to "entertain" the notion that "good art does not need to be memorable": Period.

and because it just won't stick:

I re-fuse to "entertain" the notion that "good art does not need to be memorable": Periods...

blog block blah

haven't been blogging lately. I'm feeling somewhat paralyzed about writing (either blogs or poetry, though I'm not seeing much of a difference lately besides what medium I'm planning on presenting a thing in). Paralyzed, not by lack of ideas, but by a flood of ideas.

Keeping up with a hundred or so poetry blogs, more blogs, coffee blogs, local blogs, "culture" blogs, political blogs, music blogs, Reddit, rap beef, books (bought a bunch more Acker, and a 3 foot stack of new books I'm working through), music (just hip-hop and noise right now), "the news", comics, webcomics, "film" (hk action movies and Masaokis' YouTube channel), found out Zizek has a twitter (last tweet: "Bilbo Baggins is a perfect example of a liberal communist").

--started a blog about racism,
--started a blog about the word "crunch",
--started a blog about various people's conception of high/low art,
--started a blog about Harriet's new comment voting system,
--started various blogs about more SlowPo thoughts,
--thought about writing a blog "close reading" The Game's rap "beef" (just one-sided at this point) with Jay-Z.
--argued for a while with Joseph Hutchinson about conceptual poetry,
--argued for a while with Seth Abramson about the Henry Louis Gates bullshit,
--have begun a long study of Masaokis' YouTube cooking movies.
--began vague structuring of a blog on Parkour and Freerunning
--started about 30 or so poems in the last week,
--our noise band has been practicing for several hours a week,
--just joined some artist's group, not sure what we're doing, drinking and talking about art I guess.

I'm not making this list because I think it's impressive, I'm making it because I haven't thought of myself as "doing much lately" and it's just not true. So I just started listing things off to prove it to myself.

I go through periods where I think things aren't "worth" blogging about. And really I'm not sure what my problem is. I'm not sure how to pace myself with all this shit, cause I care a lot about all of it, and it even all fits together in my mind. It all has bearing on what I'm trying to do with the Pathologos blog. I'm just too fucking fascinated by every little thing (this morning, I spent an hour reading about frogs). I'm feeling very engaged with everything, which is good since it helps to counter this feeling of impending doom that seems to be settling over metro Detroit (15% unemployment for the state and rising). The stories I hear on the bus seem to get more depressing by the week. I'm happy though, for the most part.
____________
_________

Some time ago, Ron Silliman said he was going to blog better and blog less this year (paraphrased). I don't really have any complaints about the result (and with 2 or more dauntingly invaluable link dumps a week, there's nothing to complain about). However, I don't see a connection between the value of material and the frequency of posts in a blog. In fact, I want to blog way more often, with less fully formed ideas. In general I'd like to see way more writing that doesn't pose like it knows what the fuck it's talking about.

I've said it before, but I'm way more interested in people's notes. I want to hear about what people notice, and what they're thinking through, more than I want them to force out some final word on the matter.

Response artifact from watching Sicko

take off my shirt and burn off a colloquialism
teenager label understands the fat black insurance
immediate benefit
experimental test
each white lotus line magnetizing requests
standard neural denial
imperial block magic, brick serif
tandem clarification, arrest of savings
get it back get it back

chronic bracket, a sweet internal history
of kind colds, helicopter rashes, and labyrinthine limping,

and too bad too
lose a few
and see what fun's to be done

a cold melt of raptured weeks
jdfjing list ninging
he was my best friend
dirty langaaguge
langnagen
anaglange
langugae\
languge
language

THins in a private enterprise one
all the incentibe are towayds less medical acear

the purpase of the

this sort of thing is what cripples

jkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkj
fjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfj
jkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkj
fjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfj
jkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkj
fjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfj
jkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkj
fjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfj
jkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkj
fjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfj
jkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkjkj
fjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfjfj



too much kmonay manarchy monarchy

do you really want the government to contol your family?

socialized metasign

fair and equal don't you know

until one day we will awake to find we have socialism

muh knee

that's understandable

rata tat tat

rx wrcke wrecks

two billion typos



asdfasdfasdfasdfasdfasdfasdfasd
;lkj;lkj;lkj;lkj;lkj;lkj;lkj;lkj;lkj;lkj
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((((((((((((no body))))))))))))
(((((((((((((((())))))))))))))))))
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;lkj;lkj;lkj;lkj;lkj;lkj;lkj;lkj;lkj;lkj
asdfasdfasdfasdfasdfasdfasdfasd



too young for cervical cancer

stress free



(((((((((((((((((((((((((((((((((
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na

not necessary, barter for blatant
feelings. A threat.

Kein

a daze of seem,

guilt for being here almost,

snatch at batter fat chance
a bring, peeps at, milks the...
an out-of-town afraid-braid
so many crash and blood
tolerant families, why shy
away from any mark, hard
to to it.

personal collections of Kenya,
Dominican Republic, and others.

asdfasdfasdfjinjinjinijinijinijinijinijinijinijijinijinijidnijinji

adnfidnfkdiekdcmi

not a new thjing

ccccccccccccccccccccccccccccccc
cccccccccccccccccccccccccccccc
ccccccccccccccccccccccccccccccc

didn't know where whse sher
didn'gt know where she was

belted out deletedeletedetele

ddddrop off pping
drong off pint
drop off point

take care of yourself

askfing

who are we?

initial heroism
NYFD

Y
DF
N

limpin' ain't easy

what about terrorism
a crunchy treat
designed to remind
-brand-/ potato chips

anoy
anonymous

onybeadf


me: just bought ongbak2

Ian: nice!

dvd or vidisc

me: dvd

Ian: sweet

lemme know when it arrives

me: reports say it might not actually have subs even though it said it did

Ian: but whatever

me: yeah

i don't own any tony jaa movies with subs

it almost ruins it

Ian: subs''ll probably be atrocious anyway

me: which can be a good and bad thing

Sent at 12:30 PM on Wednesday

Ian: true

working or mugging?

Sent at 12:32 PM on Wednesday

me: worik

just watcht sicko

Ian: any good?

me: uh, yes

it's still a michael moore movie

Ian: his hammy fists beating at your irritation nerves

me: so he fudges certain things to make them seem one way, not lies perse, but it's frustrating, cause he really doesn't need to do that and it just discredits otherwise good work
sure

how longs is it?

me: he got 911 rescue workers free healthcare in cuba

2 hours

Ian: wait, what about 911 workers

me: he took them to cuba and cuba hooked 'em up with free meds and all sorts of procedures

because our gov wouldn't help volunteers

Ian: ouch

me: so off duty emts that helped and got sick weren't covered

Ian: that's pretty cool -- maybe not an argument, but still pretty cool

me: right,

it's a michael moore flick, so it makes more emotions points than intellectual ones

"emotional points"

Ian: sure

I should probably watch it at some point.

me: it's free online

Ian: soihear

me: streams fast, low res

Ian: I just have trouble thinking: this is the next hour and a half of my life.

while I'm online

me: yeah, i watched it periodically over my last two shifts

Sent at 12:41 PM on Wednesday

Ian: smart

me: that's me for you

Ian: no thanks

my problem is, the gorilla never seems to be acting natural.

It's like he's all "I'm an asshole," but I can't believe it.

Just seems like a nice guy I guess.

me: wat

Ian: Oh, sorry, got convos mixed up

forget I wrote that

me: nice

Ian: just kidding.

me: i figured

Ian: just bein' weird

me: it was so "i got convos mixt up"-suspicious

Ian: yup

I would never earnestly write "convos"

me: is that important to you

Ian: yup

me: i accept your statement then

Ian: I'd write it ironically, as above

me: or with "quotes"

Ian: like a sucker

me: yeah,

quotes are nature's cop-outs

"nature"

Ian: quotes are "nature's cop"-outs

me: i'm trying to figure out what's going on with that

Ian: nothing particularly useful

me: i'm thinking:

Ian: just playing around with em

me: cops in the forest (forest=nature) trying to find a way out

the cop is made of trees

copse

Ian: that the natural (speech world) is policed by quotations; speech without ramifications = coercive control over linguistic expression

oh yes, copse. I like that too

Sent at 12:48 PM on Wednesday

me: natural is speech-world?

hmmm

Ian: yep. I went there

me: you sure didi

Ian: t

me: that buddy

i mean thanks buddy

thuddy

Ian: which buddy

thuddy. heh.

me: you with the ali oop

Ian: got it

me: how the fuck do you spell ali oop

Ian: ally-oop?

though that's more like allies in arms,

not really allie-oop ish

me: alley oop

Ian: maybe there are different kinds of ali oops for different occasions.

me: derived from the french allez-oop

Ian: I've your bud helps you out it's an ally-oop

if you are in the middle east it's an ali oop

if you are in, um, an alley, it's an alley oop

and so on

me: i accept

"the cry of a circus acrobat about to leap"

Ian: aieee! oop

or were you thinking of something else?

me: also that

no, that straightup where the term comes from

Sent at 12:55 PM on Wednesday

me: "In the 2008 film Semi-Pro, protagonist Jackie Moon invents the alley-oop after being knocked unconscious and speaking with his deceased mother in a depiction of Heaven. The crowd and announcers are left nearly speechless, unable to comprehend what happened, and the referee thinks that the maneuver is two fouls."

Ian: that sounds good.

except it

is

semi-pro

w/ will ferrel

me: i like that it says "depiction of Heaven"

Ian: In case anyone was worried

me: like, there's an in-movie assumption that it's not real?

yeah, don't worry people, not really heaven

Ian: it's cool guys

we didn't actually film heaven

you won't go to hell for watching it

me: that is good,

i haven't seen the movie

but now i at least know i can

Ian: see it?

me: yeah

Ian: I heard it was completely "ok".

me: oh, of course

it'd too "post-anchorman"

like, just trying to do that same style over and over

Ian: sure

me: i mean, it's cool for a while but movie on

Ian: he did like 5 sports movies. It's like geeeeez

me: inininininininininnin

sorry

Sent at 1:02 PM on Wednesday

me: oh, i might be using this convo in a poem, and posting it to pathologos

Ian: why is that?

me: your words: APPROPRIATED

oh, uh

it's because i was writing a poem capturing the "response artifact" of watching sicko

whatever the fuck that means

Ian: ass

me: why?

Ian: oh, just the way you're always like "response artifact" and then follow it up like you don't mean it.

me: "lol"

It'll be on the internet so it's not "serious"

its just ephemera

Ian: you're just a goof with a pretentious streak then?

me: hmmm

i don't think i'm pretentious

Ian: I'm joking

in a sense

me: so you're "joking"

Ian: so

no

'joking'

single quotes

me: nice

Ian: different shade of meaning

me: we need more ways to differentiate the planes on which various forms of meaning happens

I mean "lol"

Ian: thanks

finally talking in a "language' I can understand

me: i first thought it was double quotes on both sides, then though of doing double quote then single, then I saw that that was in fact what you'd done

that was the play-by-play of my reaction

Ian: I like it when brain processes are trackable

me: perhaps I had the idea only because part of my brain noticed what it really was

Ian: What a novel idea! I should consider mixing it up with... oh, yes.

Sent at 2:12 PM on Wednesday

me: i talked to gretchen on the phone about the movie, but didn't record it

so i could try to write it down, but it would just be the capture artifact of the response

Ian: yes

which is cheetin'

Sent at 2:20 PM on Wednesday

me: well, cheating, sort of, mostly just not what the poem's about

Sent at 2:28 PM on Wednesday

Ian: exactly?

PITETSBKRRH

First, there is a stray flash -- which could be construed as a dot representing the letter "E" -- between the two dashes that represent the two "Ts" in Pittsburgh.

Then there is a dash that should be a dot at the start of the seventh letter, turning what ought to be a "U" into a "K."

Finally, there is a dot that should be a dash at the start of the ninth letter, changing the "G" into another "R."

read more...

Typos I made searching for the video:

pittsburg

pittsberg yui

pittsberg tyupo

pittsberg typo youubte

well worth a listen

the approprations in the Slow Poetry discourse?

If you haven't read Kenny Goldsmith's post up at Harriet, check it out. He talks about his interest in identity as fluid (not, as everyone seems to be reacting to, identity as non-existent).

John Oliver Simon responds to the post:

Problem is the identity theft here only works in one direction, privileging the conceptual poet who pilfers magpie pretties from the phone book. Kenny and his gang still expect to have their names up in lights, to get the grant and the prize and tenure.

I responded (edited for typos at Simon's request) :

I don't understand what your argument is supposed to be. There's a difference between saying identity is fluid and identity is non-existent.

The very act of naming is an appropriation.

You seem to be arguing as if kennny's use of his name is hypocritical in some way. Not only is it not hypocritical (as if that were a reason to discount someone's work), it's what he just said was the whole mechanism of his work.

When a thing is named, both the name and the thing being named are changed forever. Kennie demonstrates this precisely in the act of placing his "own" name against texts he "didn't write".

also, (and this is not aimed at John Oliver Simon particularly, just to be clear) :

can people (mostly Harriet comments I guess) please stop invoking "the lower classes" when arguing against conceptual poetry, flarf, and appropriation in general? It's extremely fucking ironic. You demarcate "the lower classes" as if they were a cohesive group that you are speaking for with one voice. You're appropriating the REAL struggles of diverse and nuanced people for the purpose of winning a petty poetry argument.
__________________
____________


Poets connected to slow poetry are extremely well-versed in the act of appropriation.

For instance, Richard Owen's writes:

Q: What happens when a gaggle of middle-aged financially-secure nobodaddys tell an old boring joke as if it were new and not boring?

A: Their ponzi schemes are backed by cultural and economic muscle and richly rewarded. The Whitney. The latest issue of Poetry. Viz. whoever's got the cash can make it sing. Nothing tough or edgy in making cultural capital that challenges nothing sing like a nightingale. It always has the blessing of power.

And Dale, also, appropriating similar themes of discourse, writes (brackets/blue text mine) :

Until F-ConPo [flarf and conceptual poetry] can articulate something that distinguishes what it does from others, I wonder who would possibly listen? At best, such efforts create a distracting show, while at worst, they eat up a lot of bandwidth and natural resources [where are his carbon credits for that accusation?] in order to promote a group of people who don't really seem to care about poetry, but about the social atmosphere and its manipulations--the market. A market based on an old model of globalization.

By "old model of globalization", I'm assuming he means the current, and as of yet, inescapable model (does this mean slopo is utopianist? I mean, "I'm not saying; I'm just saying").

no effort, so far, has been put into connecting these things in any real way. We're just supposed to pour our ignorance (or just distaste for, whatever) of flarf and conceptual poetry into the already formed molds of "Ponzi schemes", "markets", and "globalization". It's a nice (if a little sloppy) way of piggy-backing discourse that has already taking place, copying and pasting it into one's own motives.

demonstrating very nicely (perhaps unwittingly) that conceptual poetry really isn't doing anything new. Appropriation is, in fact, the basic mechanism of language. And getting worked up in a frenzy over it only demonstrates how embroiled one is in this Capitalist idea of "ownership", and particularly "intellectual property".

texture poem experiments/whatchamafuckers

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