Yes Chris, thanks so much . a rush of response .
Eve Sedgwick was a fabulous presence . Austin's How To Do Things With Words a huge firesource for the performative . and there is a host of others worth checking out for those getting interested, Elin Diamond, Joseph Roach, Peggy Phelan, Dwight Conquergood, Adelaide Morris, Phillip Auslander . . . i don't know Silvan Tomkins (who Affect Script Psychology already looks extremely interesting) and Anna Gibbs (i see the link to a f f e c t right away and affect would be an intreresting subject to discuss in the context of the performance) . . and will follow up on them, many many thanks for the tip . so great to hear names new to me
then a host of very active poets including Charles Bernstein, Caroline Bergvall, Steve McCaffery, Tracie Morris, Jorg Pirringer, Nathaniel Mackay, Jerome Rothenberg, Eugenio Tisseli, Keston Sutherland, Marianne Morris, Maggie O'Sullivan, Catherine Wagner, Tom Raworth, Alison Knowles, Danny Snelson, Carla Harryman, Ian Hatcher, Justin Katko, Kasey Mohammed, Peter Manson, David Antin, Alec Finlay and so many many more (this being an insane and invidious glimpse of a list . . too too many many others) . . . all of whom are producing work(s) both on and off the page that do (at least sometimes . . of course not everything that anybody makes in poetry makes it across our collective - individuated rubicons and isn't that great the point surely is to engage with an open body-mind) have the complexity some here are seeking from the live . to an extent that tensions between the live and the recorded become extroardinarily productive
[i am now thinking about affect and how a text object on a page has affect too . .?]
and some departed whom David mentioned and many others (right back into Greek epic . . . . . . ?)
o and even some hereabouts . . Lawrence Upton . . (who continues to produce and circulate variant performances of poesis)
;=) and probably many who are lurking
cris
On Oct 29, 2011, at 6:20 AM, Chris Jones wrote:
> On 29/10/2011 3:16 PM, cris cheek wrote:
>> This is true for all acts of writing; would at least be worth considering? i guess the tricky term would be consciousness?
> Just as an added comment; Sedgwick played with this idea, as well. Below
> is best lead I can find, at this time and sorry no photo of seal.
>
> http://en.wikipedia.org/wiki/Eve_Kosofsky_Sedgwick
>
> Can't keep up with this as I should, given my own interests wrt boat
> taking time performance. For Austen performance is language. The
> marriage vows performs and says at the same time. For Tomkins, affects
> are unconscious. Also see Anna Gibbs writing on this.
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