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Hal
Halvard Johnson
================
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http://sites.google.com/site/halvardjohnson/Home
http://entropyandme.blogspot.com
http://imageswithoutwords.blogspot.com
http://www.hamiltonstone.org
<http://www.hamiltonstone.org/>
http://sites.google.com/site/vidalocabooks/home
<http://www.hamiltonstone.org/>
Remains To Be Seen<https://docs.google.com/document/d/1tII1LvsGmJpmLby_dyie77p3D2u2sAwcJL3TuW5T-nY/edit?hl=en_US>
*, Remains To Be Seen (Vol.
II)<https://docs.google.com/document/d/198kwjOUuDuROG50BpMvKu_05auLcYh1Ce03rHqsSBNE/edit?hl=en_US>
,** Remains To Be Seen (Vol.
III)<https://docs.google.com/document/d/1JW0nJh3tEtKzCu4hya0mYSU04EA0sz6hRM90eTgzhyw/edit?hl=en_US>
, *Sonnets from the Basque & Other
Poems<https://docs.google.com/document/d/16pWoy7FBSWyCLWpz0hhI-i0BOYjSBeUiqfWBmJF3g64/edit?hl=en_US>
*, *Mainly Black<https://docs.google.com/document/edit?id=1i_JGJ_FqQldEnUq7cwjV8giYykz_tsGbTkC2EkAP3IM&hl=en&pli=1#>
, *Obras Públicas<https://sites.google.com/site/vidalocabooks/halvard-johnson-obras-publicas>
; **The Perfection of Mozart's Third Eye and Other
Sonnets<http://www.scribd.com/doc/27039868/Halvard-Johnson-THE-PERFECTION-OF-MOZART-S-THIRD-EYE-Other-Sonnets>
; **Organ Harvest with Entrance of
Clones<http://www.amazon.com/Harvest-Entrance-Clones-Halvard-Johnson/dp/0965404390/ref=sr_1_1?ie=UTF8&s=books&qid=1283182804&sr=8-1>
; **Tango Bouquet<https://docs.google.com/Doc?docid=0ATDp6rzKkBkhZGZwand2cHdfOWc1Mnh3Zw&hl=en>
; **Theory of Harmony<https://docs.google.com/viewer?url=http://xpressed.wippiespace.com/fall04/theory1.pdf>
; **Rapsodie espagnole<https://docs.google.com/viewer?url=http://xpressed.wippiespace.com/rapsodi.pdf>
; **Guide to the Tokyo
Subway<http://www.amazon.com/Guide-Tokyo-Subway-Other-Poems/dp/0971487316/ref=sr_1_3?s=books&ie=UTF8&qid=1283183153&sr=1-3>
; **The Sonnet Project<https://docs.google.com/viewer?url=http://xpressed.wippiespace.com/hsonnet.pdf>
; **G(e)nome <http://xpressed.wippiespace.com/fall03/genome.pdf>; **Winter
Journey <http://capa.conncoll.edu/johnson.winter.html>;
**Eclipse<http://capa.conncoll.edu/johnson.eclipse.html>
; **The Dance of the Red Swan <http://capa.conncoll.edu/johnson.dance.html>;
*
*Transparencies & Projections <http://capa.conncoll.edu/johnson.transp.html>
*
On Wed, Oct 19, 2011 at 10:27 AM, Douglas Barbour <[log in to unmask]>wrote:
> Ah, & Lawrence
>
> where does Sound Poetry fit into all this (which I know you practice, & Bob
> C did, & the Four Horsemen, etc)? If one writes a poem & then reads it to an
> audience, one is in fact 'performing' on some level. Some do this well (I
> once argued that the great Phyllis Webb, reading her astonishing Naked
> Poems, gave one of the greatest 'performances' I ever had the pleasure to
> hear: the audience was transfixed); some do not.
>
> My problem, quite often with whatever it's called is that the language
> simply isnt stark, packed, concise & playful enough. You know, what makes a
> 'poem' interesting.
>
> Sound Poetry is something else, certainly a performance, but also a
> breakaway from language as discourse; it's after something other than that.
>
> Doug
>
>
> On 2011-10-19, at 6:44 AM, Lawrence Upton wrote:
>
> > I have been worrying about this
> >
> > The term performance poetry was somewhat current to indicate an emphasis;
> > and then others began saying that they did performance poetry; and it
> > seemed that this entailed exclusions which were never much specified
> >
> > Ditto spoken word
> >
> > I have sometimes wondered if spoken word is using too many words. In
> > normal parlance, to speak is to speak words. Personally I reach for other
> > words such as utterance if I want to speak of poetry which involves...
> > er... utterance
> >
> > But if you say _spoken poetry_, what are you saying? Unless spoken word
> > poetry is understood as a kind of handshake... not that there is anything
> > sinister; but I sometimes wonder if this -- to me -- avoidance of saying
> > with any precision what one is doing is just lazy
> >
> > When I hear spoken word on the radio, it is often described as _the best
> > of spoken word_ which begs a few questions as well as making it sound
> like
> > breakfast cereal
> >
> > Not the best of poetry but the best of spoken word poetry, with the built
> > in redundancy I have noted
> >
> > It seems to me that there is more to this than writing with the intention
> > of performance.
> >
> > L
> >
> >
> > On Wed, October 19, 2011 13:23, Tim Allen wrote:
> >> That's what we used to call 'performance poetry'. If 'spoken poetry'
> >> is what we now call performance poetry then what does 'performance
> poetry'
> >> mean now? Or is 'spoken poetry' different because it doesn't have the
> same
> >> ethos as 'performance poetry' - to entertain and appease and ingratiate
> >> yourself to the listener with every trick in the BOOK. Is 'spoken
> poetry'
> >> more arty?
> >>
> >> Tim A.
> >>
> >>
> >> On 18 Oct 2011, at 17:11, Deborah Stevenson wrote:
> >>
> >>
> >>> Hi Patrick,
> >>>
> >>>
> >>> I am talking about 'spoken word' as in a writer/poet that writes
> >>> their own material and then memorises and performs it. Usually writing
> >>> with the intent to do so from the onset of writing. Does that make
> sense?
> >>>
> >>>
> >>> Deborah
> >>>
> >>
> >
> >
> > -----
> > UNFRAMED GRAPHICS by Lawrence Upton
> > 42 pages; A5 paperback; colour cover
> > Writers Forum 978 1 84254 277 4
> > wfuk.org.uk/blog
> > ----
> > Lawrence Upton
> > Dept of Music
> > Goldsmiths, University of London
> >
>
> Douglas Barbour
> [log in to unmask]
> [log in to unmask]
>
> http://www.ualberta.ca/~dbarbour/
> http://eclecticruckus.wordpress.com/
>
> 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
>
> Why poetry? And why not, I asked,
> my right brain humming sedition.
>
> Phyllis Webb
>
>
>
>
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