January 2013 I think it was involved by invitation in Alec Finlay's
“*Vocable-orchard”, a digital *animation and print project, of which
my contribution (writing the “sneeze vocables”) is a very small part,
reconsiders Kurt Schwitters’ ‘Das Ganze Niesen’ (‘The Rage of
Sneezing’, or ‘Nießscherzo’, ‘Sneeze Scherzo’, 1937, vol. 1 Kurt
Schwitters: Collected Works, pp.244-245)
The text is being recomposed, processing the “vocables” via the RNA code of
human rhinovirus (HRV), the common cold. The resulting material was
presented in a form derived from phylogenetic trees, realised in the shapes
of individual apple trees growing in the orchard at Cylinders, near
Ambleside, where Schwitters worked on his last Merzbau
The arboreal shaped score will be presented as a digital animation and
realized as a suite of 12 small digital prints.
There was talk of a performance by me at Tate; and then there wasn't
On 5 September 2015 at 15:03, Max Richards <[log in to unmask]> wrote:
> Thanks, Doug - I note this:
>
> Book 1 of The Xenotext is an ‘infernal grimoire’ that introduces
> readers to the conceptual groundwork for this project.
> The book offers a primer in genetics, even as it revisits the
> pastoral heritage of poetry, updating the orphic idylls of
> Virgil for a new age of mythic danger – be it in the beauty
> of artful biogenesis, if not in the terror of global extinction.
>
> On Sep 4, 2015, at 8:24, Douglas Barbour <[log in to unmask]> wrote:
>
> > Well, Bok has a book The Xenotext, out this fall around that experiment,
> & it hold be very interesting, as he is never less than that…
> >
> > https://www.chbooks.com/catalogue/xenotext-book-1
> >
> > Doug
>
>
> > On Sep 3, 2015, at 9:14 PM, Max Richards <[log in to unmask]> wrote:
> >
> >> On Sep 3, 2015, at 20:00, Bill Wootton <[log in to unmask]>
> wrote:
> >>
> >>> Fascinating, Max. Protein-rich poetry! The link is to ecocriticism,
> what you intended?
> >>
> >> both Kac and Bok extraordinary here, but - is it art?
> >>
> >>> yes, the quotation is from the review…
> >> M
> >>
> >>> Cheers,
> >>> Bill
> >>>
> >>> On 04/09/2015, at 5:07 AM, Max Richards wrote:
> >>>
> >>>> Dickenson focuses on poetry that draws on avant-garde and
> experimental precursors such as Alfred Jarry and John Cage. Particularly
> striking is the section called “Transgenic Poetics”, looking at figures who
> manipulate proteins and DNA as part of their practice, such as the artist
> Eduardo Kac, who once famously created a luminous albino rabbit by splicing
> a jellyfish protein into its genetic material; or the poet Christian Bök,
> who worked with scientists to translate a poem into a genetic sequence that
> was then inserted into a bacterium’s genome. Bök’s poem, “as a set of
> genetic instructions, causes the organism to produce a protein which,
> according to the chemical code used in the experiment constitutes another
> legible poem”.
> >>>>
> >>>> http://www.the-tls.co.uk/tls/public/article1601431.ece
> >
> > Douglas Barbour
> > [log in to unmask]
> >
> > Recent publications: (With Sheila E Murphy) Continuations & Continuation
> 2 (UofAPress).
> > Recording Dates (Rubicon Press).
> >
> > Done in by creation itself.
> >
> > I mean the gods. Not us. Well us too.
> > The gods moved into books. Who wrote the books?
> > We wrote the books. In whose dream, then are we dreaming?
> >
> > Robert Kroetsch.
>
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