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 [...]
Upon Thom Donovan’s invitation, my contribution to a discussion surrounding our artistic practices in the wake and current moment of the occupations, at Harriet: on the relation between capital and waste, garbage and exposure, the intimate public sphere.
PARK at Fresh Kills #2, verbose, saxophone-struck, wander-threaded wind at the dump summit of a November noon, in the captured unstill pixels of participants.
The introduction to our performance at Corto Circuito tonight, in Italian: Queste partiture “pop-up” fanno parte di un progetto in corso, intitolato Uscita 43, che è composto di elementi poetici, visivi, e sonori. Lo descrivo come un’archeologia di paesaggi tossici e afflitti, e un’operetta di cori “pop-up” (prendendo il termine usato per le finestre “pop-up” [...]
“New York City” and its scrapings of sky seen from the perspective of its underbelly, the swollen dump mounds shrouded in plastics.
How would old Rockefeller lurch to learn that the Palisades view he purchased for his Cloisters transported from Saint-Michel-de-Cuxa, Saint-Guilhem-le-Désert, Bonnefont-en-Comminges, Trie-en-Bigorre, and Froville to frame serves also as stageset to the “quiet-zoned” spectacle of bellic muscle for the next century?
At Fresh Kills, double to Mannahatta, with Kathy Westwater, Seung Jae Lee, Leigh Draper, and Raj Kottamasu, gearing up toward our residency for PARK, a view of the East Mound of solid waste becoming laboriously yet strategically a mountain by way of 280 gas extraction wells and plastic and other geosynthetic, permanent or impermanent impermeabilities: [...]
Joe Milutis’s question: see the interview here for my response. [Image courtesy of Jeremy Mende's Anxious Futurism.] Milutis: Given this poetry requires a lot of research, is there a sense of regret that such a signature is not enough, and that your filtration process leaves out material that could be used to educate or elucidate? [...]
The first response (composed in January) in an episodic interview with Joe Milutis about the “poetics of enormity” as laid out in a talk in verse I gave at the Penn-Columbia “Rethinking Poetics” conference last June (available for download here) is up. I wrote the piece with the demands of the Gulf oil spill and [...]
On the lovely Jana Vandergoot’s counsel, reading George Hersey’s The Lost Meaning of Classical Architecture, and now much better equipped to see the melee encased in so-called classical building conventions: eggs and doveclaws in moldings, in Doric columns marches of nude warriors, or in colossal figures, columns; in Ionic volutes locks of hair, below their [...]
Roberto Saviano, of Gomorrah fame, points exacting eyes at a mountain that would rise 15,600 meters high, far higher than Everest, of amalgamated waste illegally dumped by criminal organizations in traffic that nearly exceeds the profits of narcotics trafficking. And on the transit of toxins from the industrial centers of the North to the refuse-heaps [...]
53 million busted amphorae used to transport olive oil between Andalusia and Rome for the imperial populace to receive gratis, a kilo a day a head: hammered belly by belly to make a mountain of shards, or testae, dubbed Testaccio, 45 meters high. Abandoned, an eventual platform (1200-1400) for watching the Carnival of Rome then [...]
Just in time for our imminent pilgrimage to the ancient landfill of Monte Testaccio: audience thoughts salvaged from the performance of “PARK” at Freshkills, Staten Island, posted at Kathy Westwater’s blog, here.
Sidling through throngs of the flea market behind the 17th-century Janiculum walls in search of mundane socks, mesh of all languages, of the salvaged objects of distances barely imaginable, obliging imagining however, hearkening back to ingenuities of the moment before conspicuous consumption well characterized by Heather Rogers’ Gone Tomorrow, and soundtrack of home for this [...]
Much discussion with the “landscape architect” and partnered architects researching food and waste these days surrounding landfill, as archive, and as a singular, sanctified, however tainted, space accommodating under present conditions to other species, now that development is equal to wasteland (Case Brown on Chernobyl: a “toxic Eden”). Protectress of the portal to Rome’s massive [...]
EJ McAdams writes about PARK at Freshkills (and at Dance Theater Workshop) for Critical Correspondence @ Movement Research: “I wanted to leave a trace of this dance, a dance that seems to have no beginning like a dream and no ending, only this awakening into the way we precariously move about on a landfill over [...]
Dark anniversary. Still to work in sentences through the moment of PARK at Freshkills following a hypnotic duet by Ursula Eagly and Kazu Nakamura when the realization dawned that, due to contingencies of wind, I’d be reciting an elegy for Taimour from the harbor directly facing the absence at the end of Manhattan. Letting the [...]
My colleague in Chicago, the novelist/poet/translator/critic John Keene, was among those who joined us at Freshkills for PARK on June 26 and writes generously about it on his blog: “It was, to put it simply, unforgettable. I’m no dance critic so I won’t even try to describe it, but I did appreciate how the performance [...]