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 [...]
The term ecopoetics has become increasingly important to scholars and poets alike. It is certainly a critical moment for the field and practice. Please join us in February for a three-day conference that will focus specifically on exploring ecopoetics, taking up such questions as: What is ecopoetics? What representational strategies and sociopolitical commitments might characterize [...]
Hillary Gravendyk, poet/scholar currently working at Pomona, convened a terrific cluster of hyphenated writers for a special session devoted to “The Poet-Scholar” at the Modern Language Association’s annual conference in Boston last Thursday. It featured Julie Carr, Heather Dubrow, Magaret Ronda, Juliana Spahr, Barrett Watten, and yours truly; papers may be published together or individually [...]
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.
Occupying the ruins now framing a deejay set ranging from Volare to hiphop all’italiano and the hospitality of Earthquake Jack: scene of palpably postwar pregentrification Palermo.
Unakin to the dogged determination of research leading in obedient step to professionalization, the navigation of cities and the production of poetry will always repay the errant seekings of curiosity off the Corso: look further, a second and a third time, for patterns, stances. Especially in Rome….
A fancied word so unfortunate in animation: in the woods punctuated by grazing fields for horses lined by modern sewers, the farthest reaches of the Aqua Paola (e Traiana), great outmoded infrastructural gift, at a tilt, leaking sporadic showers, and in expected picturesque disrepair: contemporary Ruskins our hunters from England hastening to capture the destruction [...]
“For those who submitted to disorientation, it was a success.” “Submit,” says Tom: “that’s the perfect word.” An old archaeologist friend, alongside whom I worked at my first and only dig, two decades ago, veering over the hole listening for voices. Hearing the unconscious, seeing the strata of history in the strata of bricks above [...]
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, [...]
“Now that’s quite a responsibility,” says Kathleen, deathly serious from the Piazza San Cosimato, as I tell her of the site of the sound piece in progress. All day spent in the dark tavern carving bypasses of voices from the literal underground. Carving from the blindness resulting from the hegemony of vision in this culture, [...]
Much talk, at Barnard, about poetry and enclosure and prison, as a merely formal strategy, or a political one too?, amid my reckonings that Rosselli was responding to the aesthetics that just preceded hers. Philology and its shortcomings. Isn’t it the case that a writer responds to the just-passed Zeitgeist even when we can’t track [...]
I am finishing the lecture I’ve written on Amelia Rosselli’s composition of a cubic stanza, or chamber, as receptacle for a post-Fascist poetics—to be delivered this Friday into Saturday at the conference on her work. Those in New York City, please join us uptown from that frenzied Square for discussions of a poet who dreamt [...]
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 [...]
Adrian Van Allen photographs a seemingly unphotographable installation (“questo happening” Stefano calls it), ours, last night—X LOCUS: with the mounting of tramonto the invisible becoming visible, but only by a third of the quadrant: witnessing as if detached with anxiety over the hegemony of vision the vernissage crowd seeking, drinking, confused, drifting, circulating with the [...]
On Thursday, April 28 at 8 PM in the cortile of the McKim, Mead and White Building at the American Academy in Rome, there will be an opening reception for a collaborative installation titled X LOCUS, featuring environmental media by Founders Rome Prize winners in Architecture Ersela Kripa and Stephen Mueller, sound by Elliott Carter [...]
And is the loveliest sculpture, it turns out, when simply chopped rather than mass-manufactured, carted in from the local hardware store. One of various mundane epiphanies of this Easter among sculpting comrades of the olive grove.
“Stanza as Prison, Homicile, Cube, Sphere: Emilio Villa, Amelia Rosselli, and the Spaces of Post-Fascist Ytalyan Poetry” is the name of the talk I delivered tonight at the American Academy in Rome. Such rare pleasure to present, incommensurately perhaps given the material of dislocation, to a room full of neighbors, however hailing from the strange. [...]
And the breathless dust of realization that obsession with the language of Emilio Villa and his precursors so deep down and far (hyperpast) really could drive a reader madly into the underbelly of the moment, delightsomely.
And a girl converted to colorism out of Venice returns as if in dream to its marriage with the linear abstraction of an ideal maturity.
A simple plan—planting Galileo’s asters on the ground—becoming marvel in the vapor that the rain sent. A simple solution—that the violist play from under the umbrella of the house—becoming Shakespearean courting and debate between strings and zeros & ones, near midnight among the olives cherries and the pines and the neighbors becoming directors, spectators becoming [...]
That energy and courage of invention (oui, inventio, what heresy to the epoch of tied wrists) should infuse architectonic and ideological space as well on a cloudy 400th anniversary: after the coining of the “telescopio,” these studios hopeful, explosive: Galileo, Corey Brennan, brilliant comrades bearing keyboards, violias, keycards for piano, windchimes, and plan-B umbrellas, thanks. [...]
For days the phrases of musical compositions in the making ever more frequently arriving to punctuate my battling with paragraphs, through the thick walls and open windows of this 19th-century tavern on the highest hill of Rome: the same foundations of montorio having turned from the villa of Monsignor Innocenza Malvasio who had Galileo demonstrate [...]
“I do not know what meaning classical studies could have for our time if they were not untimely – that is to say, acting counter to our time and thereby acting on our time and, let us hope, for the benefit of a time to come.” —Nietzsche, Unzeitgemässe Betrachtungen Betrachtungen=observation: consideration: speculation. As to translation [...]