My last post for Harriet, “Nursing Futurism,” reads the figure of the nurse as a confessional supplement to the manifestos of Futurism, and presents some nurses of hope in the form of Daria Faïn and Robert Kocik’s Commons Choir, and Pepe Rojo’s Tijuana Liberation Front.
My second post for Harriet: The Blog thinks through what it would mean to consider the performance of an original and translated text as a fundamental part of the act of translation. “Performance plunges us concretely into translation’s uncommon temporality as we strive to body forth the the cognitive and musical pulse of a text […]
Occupy Poetics click above to read this free chapbook curated by Thom Donovan for Essay Press! In Occupy Poetics, Thom Donovan collects a series of responses to the Occupy movement to observe how aesthetics and politics might intersect— with Brian Ang, Steve Benson, Ana Božičević, David Brazil, Brandon Brown, David Buuck, Anelise Chen, Stephen Collis, […]
Tomorrow in Hyde Park: a talk on words poetic so pathetic set to music and dance—and on the glitzy shadow of modernism. Ecstasy of the body, machine, and urban collective from Dziga Vertov through Bjork: the musical as the ideal or tripwired assembly line….
So there’s this chapbook/keyword manifesto/ecopoetical souvenir, A Neural Net, collectively assembled by Rachel Levitsky & Ira Livingston (OoRS), Jen Hofer (ANTENA), David Buuck (BARGE), and Jennifer Scappettone, Kathy Westwater, & Seung-Jae Lee (discussing a 2011 iteration of PARK) for the Ecopoetics Conference roundtable on “Ground Scores: Unburying Ecologies Through Embodied Practice,” convened at the University […]
Lin Hixon and Matthew Goulish, co-founders of the performance collective “Every house has a door” will be discussing their work-in-progress, “Testimonium” in the Logan Arts Center, room 801 Tuesday, February 5, from 4:20-5:50 pm as special guests of Jennifer Scappettone’s Documentary Across the Genres course, through the support of the UChicago Arts Council (Please note […]
At the Villa Medici: from Paris to the Pincio, perfect coherence of voluptuousness in stone embraced otherwise, alive.
Worth the sweltering heat of stone discharged from the arbors of the living, amplifying the rise and fall of expectations to locate any trace of memory of the fratelli Rosselli in this their first burial site: a stone’s throw from Toklas and Stein, a porquoi become genital and mouth of Jacob Epstein’s direct carving softened, […]
Scoping it out at a press conference overlooking the whole city: the space we’ll perform in (Exit 43 with the Difforme Ensemble) before bidding goodbye to the site of Rome’s preGothic sustenance and our ravishment.
In advance of “La Mama SpoletOpen” at the 54th Festival of Two Worlds, my poem to be carbonized: FLAG PIETRA PER PIETRA roso CHIODO PER CHIODO oso FILO PER FILO […]
And as we were schooled by the friend of a friend in the tradition of theater/recitation/storytelling called cunto siciliano, possible heir to Greek bardic traditions, the bank too is distinguished by its vernacular fold, improvised.
In the new departing friend’s studio full at his facture of charcoal and bodies and blinking streaking green otherworldly light made grainy by lack in the archive machine.
Paul Rudy and Aparna Keshaviah’s “Kinetic Play” tapping into the ground I can’t see for the crowd through a sensing of native American beats plus Bharatanatyam gestures and bells as poetic text: a double language that’s not European, though born of six months’ back-and-forth in the heart of European civilization, our revised Rome. So expressive […]
Come see X Locus (Abluvion), a collaborative installation by Jennifer Scappettone (text/sound design), Paul Rudy (sound design), and Agency Architecture (environmental media), at the Open Studios event at the American Academy in Rome Wednesday, 25 May, 2011. Il consiglio di amministrazione dell’American Academy in Rome William B. Hart, Presidente del consiglio di amministrazione Adele Chatfield-Taylor, […]
Performing pop-up choruses surrounding postpastoral landscapes from Exit 43/Uscita 43 with the Difforme Ensemble (Marco Ariano, Renato Ciunfrini, Roberto Fega) and with Ersela Kripa & Karen Yasinsky this Saturday night at the Centro Sociale Corto Circuito in Cinecittà: be there/ sii lì!
A conversation-poem on national, cultural, linguistic and psychological dislocation created by Jennifer Scappettone—installed in the gravelly space inside a moat of liquid loggia projections and sculpted ambient fountain/fowl for X Locus, a collaboration between Scappettone, Paul Rudy, and Stephen Mueller and Ersela Kripa (AGENCY Architecture), held at the courtyard of the American Academy in Rome […]
Why shouldn’t poems roll across the floor? From Emilio Villa’s The Rolling Balls: Hydrological Antistructures, With 6 Silkscreens (Rome: Edar, 1969), in collaboration with Silvio Craia and Giorgio Cegna….
On the way to Santa Prassede, following the detour of buses, running into a truck whose emblem is a head inside a gear marked “San Precario” or “Saint Precarious”: A spirited, nearing joyous, parade against (re)becoming minds in flight: the demonstrations of precari, workers, researchers without security, enact their part of the “manifestazione continua” rising […]
In advance of the world premiere of Derek Walcott’s Moon-Child (Ti-Jean in Concert) at the American Academy in Rome last night, I interviewed the author/director, last week, for Sunday’s Il manifesto: here’s a link to the pdf: Walcott in Concerto: Il Manifesto A work recast from the earlier Ti-Jean and His Brothers, taking the ballad […]
And a picture of shifting into impatience, from imperial, now national, projection to wily individual fi in the face of entropy. “But when he came to the Forum of Trajan, a creation which in my view has no like under the cope of heaven and which even the gods themselves must agree to admire, [Constantius […]
And in celebration of the coincidence of holidays, a feasting on the fact that the object of the gaze, ever an object of ambivalent worship, can shift or itself deflect, wield puissance.
& the proposal some days ago to climb a sinuous Scarpa “tromba delle scale” / “conch-shaft of stairs— that’s how, late one night, we solved the phrase in translation of Amelia Rosselli’s “The Libellula”— wrong foot first: more infant steps up through the byways of history & love at first insight, & second & third.
And one of the many gems many appear to have overlooked in Naples from the standpoint of an “inflexible, cold, and passionate service”: local singer/percussionist Marzouk Mejri for two euros’ cover off Spaccanapoli; singing “Illettughat–To Tyrants” in honor of Tunisian poet Abulkasem Escebbi (1909-1934): “Don’t let the spring and light of dawn fool you: in […]
After the loss of Glissant, After a disturbing dream of Sicily zigzagged to the point of nullity with red permanent marker then staying on the bus alone, After a powwow with Agency about their too-timely project of finding an architectural/planning solution for housing the Roma population in Rome, who hope for permanent settlement yet are […]