Hey Roger,
What are you reading? For the BA I mean.
Roger
----- Original Message -----
From: "Anny Ballardini" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Wednesday, April 02, 2008 10:23 PM
Subject: Re: draft
> Yes, congrats _I made it all the way down to here,
>
> On Wed, Apr 2, 2008 at 7:45 PM, Roger Day <[log in to unmask]> wrote:
>
>> No, I'm not disagreeing with you.
>>
>> The timeline looks like Picasso, Braque, Apolinaire then Pound.
>> Talking about mangling facts, but every art history I read that
>> mentioned Apollinaire insisted that he would get the art wrong.
>>
>> Re: assemblage v collage, I read today that assemblage is 3D. And my
>> Glasgow Application reads assemblage throughout ... ah well, one for
>> the interview the week after next.
>>
>> BTB, I just got accepted onto the BA course at Cardiff.
>>
>> Roger
>>
>> On Wed, Apr 2, 2008 at 4:15 PM, Douglas Barbour
>> <[log in to unmask]> wrote:
>> > Roger: Not sure if you're disagreeing with me, but if so I'd say you're
>> > not, at least in so far as I agree with you.
>> >
>> > So many more collage structures, long poems many of them, followed on
>> from
>> > the Cantos. I'd argue, for example (if only as a reader coming to them
>> thru
>> > the Cantos, Maximus, & so many others, that Benjamin's Arcades Project
>> is
>> > just such a collage/long poem....
>> >
>> > All of which has little if anything to do with 'what' Pound
>> 'incorporated
>> > in his collage, much of which is junk. If I read you aright, however, he
>> > couldnt help that anyway, & any of us trying something similar will have
>> to
>> > import a lot of junk, along with the diamonds, into whatever we
>> > constructed....
>> >
>> > Doug
>> >
>> > On 1-Apr-08, at 12:24 PM, Roger Day wrote:
>> >
>> >
>> > > Apologies for bringing this dead horse back to life, but I have one
>> > > last thing to say.
>> > >
>> > > To me, it isn't a failure for the wedges of prose to sit undigested by
>> > > the poetic technique. I don't know if Pound consciously wrote in a
>> > > collage style, but to me his cantos are the poetic equivalent of an
>> > > assemblage. So to me, it isn't strange; it's mirroring fragmented,
>> > > undigested reality, bringing together different representations of
>> > > reality and housing them under a cantos. You can do this with images;
>> > > it's more radical with representations. Pound's Cantos are the
>> > > equivalent of Rauschenberg's assemblages, Charles Ives music. Reality
>> > > has been fragmented, and remains fragmented. Attempts to put Humpty
>> > > Dumpty back together again a la Arvo Part amount to mere nostalgia.
>> > >
>> > > So I guess we agree to disagree.
>> > >
>> >
>> >
>> > Douglas Barbour
>> > [log in to unmask]
>> >
>> > http://www.ualberta.ca/~dbarbour/ <http://www.ualberta.ca/%7Edbarbour/>
>> >
>> > Latest books:
>> > Continuations (with Sheila E Murphy)
>> > http://www.uap.ualberta.ca/UAP.asp?LID=41&bookID=664
>> > Wednesdays'
>> >
>> >
>> http://abovegroundpress.blogspot.com/2008/03/new-from-aboveground-press_10.html
>> >
>> > to rid me of
>> > the ugh in
>> > thought
>> > i spell anew
>> > weave the world
>> > out of the or
>> > binary
>> >
>> > bpNichol
>> >
>>
>>
>>
>> --
>> My Stuff: http://www.badstep.net/
>> "She went out with her paint box, paints the chapel blue
>> She went out with her matches, torched the car-wash too"
>> The Go-Betweens
>>
>
>
>
> --
> Anny Ballardini
> http://annyballardini.blogspot.com/
> http://www.fieralingue.it/modules.php?name=poetshome
> http://www.moriapoetry.com/ebooks.html
> I Tell You: One must still have chaos in one to give birth to a dancing
> star!
>
> --
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