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5179 96 21_Facsimile says it all11_John [log in to unmask], 5 Mar 1997 10:05:23 +0000456_us-ascii [This is a 'plain text' facsimile (best view in a monospaced font) of the
front and back - the most prominent two of six panels - of gatefold leaflet
I have just received in a mailing. Members of this list should find it of
interest for a variety of reasons.]
--------
[Front:]
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y and
the
new
millenium
What is the state of poetry today?
r
What new energies should it be
evoking? [...]47_5Mar199710:05:[log in to unmask]
5276 29 19_Literal performance15_Francis [log in to unmask], 5 Mar 1997 11:34:39 +0100360_us-ascii Beyond Barthes and the empire of language:
"Ce livre-ci proteste: que le donne n'est pas un texte, qu'il y a en lui
une epaisseur, ou plutot une difference, constitutive, qui n'est pas a
lire, mais a voir; que cette difference, et la mobilite immobile qui la
revele, est ce qui ne cesse de s'oublier dans le signifier." [...]39_5Mar199711:34:[log in to unmask]
5306 22 29_Re: "eating the cubed orange"14_F.A. [log in to unmask], 5 Mar 1997 12:03:35 +0000 (GMT)341_US-ASCII Dear Allen,
I look forward to more of your thoughts on this. I have long had a
problem with Barrett's characterisation of Silliman as ultimate
non-narrative, when the experience of reading it FEELS so narrative, ie a
series of observations which could easily be linearly recorded even if
they're not.
Fiona45_5Mar199712:03:35+0000(GMT)[log in to unmask]
5329 66 35_Re: Oranges are not the only copies10_cris [log in to unmask], 5 Mar 1997 19:50:53 +0000685_us-ascii Hi, good to see this thread developing.
I'm just as keen on other contemporary
models from music / sound composition.
Agreed, the oldies but goodies die hard,
but what are the implications for syntax
and language composition of the mis-named
'free music' - let's say Derek Bailey
playing along to jungle on the radio
in his kitchen, or Lee Perry's dub,
or John Butcher and Evan Parker and Peter
Brotzmann's sax improvisations or AMM and
Jim O'Rourke, or Pauline Oliveros' Deep
Listening Band,
or Ornette Coleman's harmelodics,
or Saynho Namchilak overtones and Shelley
Hirsch's rapid dialectical shifts,
or Iva Bittova [...]43_5Mar199719:50:[log in to unmask]
5396 30 22_Re: arbitrary-aleatory11_Ken [log in to unmask] Mar 97 13:48:03 EST583_- I too had a problem with Allen Fisher's provocative and interesting paper on
narrative at "Assembling Alternatives" at UNH last year. My problem has to do
with how far you can stretch a definition before it ceases to become useful. (ie
reaches the catastrophe point & snaps!) In this case, if "narrative" is not
time-based then what in hell is it? (similar arguments re "language" in the
Fiona/John C thread elsewhere: if "everything" is "language" then "language" has
no meaning as a concept) [...][log in to unmask]
5427 23 8_Na razie16_Joanna [log in to unmask], 5 Mar 1997 20:15:22 GMT+1358_- Dear friends
I know, signing off before I've said a word...Limitations on the
amount of time I can spend at this terminal (hour a week max) mean
that I simply can't keepEmsáw |
