Thursday, September 10, 2009

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:

Thursday, August 27, 2009

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.

Friday, August 14, 2009

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".

Thursday, August 13, 2009

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.

Wednesday, August 12, 2009

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
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.
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

Sunday, August 9, 2009

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.

Friday, August 7, 2009

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...

Wednesday, August 5, 2009

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...

Friday, July 31, 2009

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.

Wednesday, July 15, 2009

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

Friday, July 10, 2009

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".

Wednesday, July 8, 2009

texture poem experiments/whatchamafuckers

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