The inky bits dance flirtatiously with all that sexy whiteness.
Serving the tri-state area.
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 Sun, Oct 30, 2011 at 9:08 AM, cris cheek <[log in to unmask]> wrote:
> Hi Dave,
>
> we will just have to agree to differ about the stretching resulting in
> meaninglessness. Because performance is used in many many different way all
> around us (from appliances and systems to sex). The point is to begin to
> distinguish between usages, rather than allow for a general and boggy and
> potentially reductive assumption to prevail. My list of names was for those
> who say they want more complexity from hearing poetry as they get from
> seeing poetry . it's simply a beginners guide to that not a club that
> offers entry or a ist intended for any other purposes. It's indicative of
> something else than what is often meant by spoken word . a category that i
> do push back against as spoken word often does mean a form of light or
> comedic or identity political verse or monologue in which the emphasis in
> terms of performance is placed on conventional ideas about virtuosity of
> delivery. Spoken Word then is a mode of poetic performance, but spoken word
> does not encompass or subsume or reduce the diverse performances of poetry.
> I was okay with the discussion of spoken word, but not so when the terms
> blurred. I, along with many others since the mid twentieth century (artists
> and philosophers and scholars), have found performance a more interesting
> term that simply one to do with competence and measurement.
>
> Also, it's not my breathless intellectualizing (although i appreciate the
> sideswipe in the formalisation). I'm quoting someone else, quoting someone
> else, not because i cannot think it through for myself but because i was
> pointing to the fact that a lot of people have been thinking about this
> stuff. The description of performance taken by Marvin Carlson from Richard
> Baumann rests on more than the term consciousness. If you read that phrase
> "consciousness of doubleness" and how he uses it, i think it's immediately
> clear that he's not seeking to swap out one term for the other. Nor is that
> phrase the double consciousness as introduced by W.E.B. Du Bois used to get
> at a distinction between genuine and inauthentic selfhood; even though that
> could be afascinating discussion to get into. Even more so in fact it could
> be understood that Baumann's "through which the actual execution of an
> action is placed in mental comparison with a potential, an ideal, or a
> remembered original model of that action" opens fully onto all aspects of
> consciousness, including that which can be positioned as the unconscious?
> Writing, let alone writing poetry, is often an highly self-reflexive
> activity? Not always, but often? It strikes me that Baumann's definition is
> very interesting in terms of the act of writing, particularly the act of
> writing poetry.
>
> Performance is always performance for someone,
>
> some audience that recognises and validates it as performance even when,
> as is
>
> occasionally the case, that audience is the self.
>
>
> His final phrase there would seem to apply very distinctively to poetry?
> Else i don't understand the activity that i enjoy here os posting a poem to
> a ist and wondering what other people make of it.
>
>
> To whit - I fully understand the idea of poetry on the page and a literary
> tradition in which a poem performs on the page and that's why i asked Roger
> the question that i shall now ask of you: in what ways does poetry not
> perform on the page??
>
>
> cris
>
>
> On Oct 30, 2011, at 2:33 AM, David Bircumshaw wrote:
>
> > Well, cris, I think I would go along with Roger and suggest that you're
> > stretching the term 'performance' to the point where it becomes
> meaningless.
> > We already have a term for 'consciousness': it's called, erm,
> > 'consciousness'. I think Deborah's initial inquiry on the subject 'Spoken
> > Word', even if it begged definition, implied a much clearer notion of
> poetry
> > in performance than that. I'd take issue with the claims of that notion,
> but
> > that's a different matter.
> > I suspect there's a kind of rejection of the autonomic unconsciousness at
> > work in your rather breathless intellectualizing, and perhaps,
> ironically,
> > an unconscious rejection of the unconscious hinterland. I notice a lot of
> > lists of names too: as if party invites were necessary.
> > I must insist that my earlier post did not endorse your statement about
> > 'non-western' traditions. I shall repeat with an emphasis: classical
> Chinese
> > poetry became text based to an extent that exceeds Western traditions. It
> > retained its nursery rhyme and folk roots because it neglected sound when
> > compared to the West; all the sophistication became focused on the eye.
> > It was a literary poetry, and, because of its intricate entwining in the
> > class and bureaucratic structures of pre-revolutionary China, and the
> > relationship of Chinese script to heterogeneous languages of China, very
> > decidedly not an oral poetry.
> >
> >
> > best
> >
> > dave
> >
> >
> >
> > --
> > David Joseph Bircumshaw
> > "The surest sign that intelligent life exists elsewhere in the universe
> is
> > that none of it has tried to contact us."
> > - Calvin & Hobbes
> > Website and A Chide's Alphabet
> > http://www.staplednapkin.org.uk
> > The Animal Subsides http://www.arrowheadpress.co.uk/books/animal.html
> > Facebook: http://www.facebook.com/david.bircumshaw
> > twitter: http://twitter.com/bucketshave
> > blog: http://groggydays.blogspot.com/
>
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