I like the tenor of this.
> In J6 performances, we often read parts of each others' poems, reducing
> the influence of authorship and ownership. That has had interesting (and
> sometimes surprising) consequences, such as forcing us to pay much more
> attention to presentation and choreography and the like. The (written)
> poem, in context, becomes only part of the (presented) poem. And the
> (presented) poem is subordinated to the set as a whole.
What, I wonder, is the gradual influence on the writing of such performative
practices? Are you beginning to write with those shifts of voice in mind?
Does it matter which voice? Through playing with such ideas, through
performance is any of the writing beginning to explore hitherto unattended
looking forward to hearing more
love and love