Friday at 12:30! Thanks to the Office of Recuperative Strategies….
Passwords: Jennifer Scappettone on Amelia Rosselli Poets House, New York City April 25, 2013 – 7:00PM Kray Hall $10, $7 for students and seniors, free to Poets House Members Poet, translator and scholar Jennifer Scappettone discusses the work of the Italian poet and musicologist Amelia Rosselli (1930-1996) — whose first book was introduced by Pier [...]
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 [...]
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.
Book Presentation and Panel Discussion: “Where the I is the Public”: Amelia Rosselli in Translation New York University, Casa Italiana Zerilli-Marimò 24 West 12th Street New York, NY 10011 Thursday, 5 April, 6:30 pm A musician, musicologist, and self-defined “poet of research,” Amelia Rosselli (Paris 1930– Rome 1996) was one of the most important poets [...]
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.
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!
Puzzled indeed to find neoclassicism masking another paradox in the pediment sculpture of the core of global speculation: Integrity Protecting the Works of Man, among which bend heavily, here, Agriculture and Mining. It is the work of John Quincy Adams Ward and Paul Wayland Bartlett—carved in marble however by “the Piccirilli brothers.” The NYSE notes [...]
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: [...]
And our favorite stone carver, who taught us so much about Rome, shows up on the other side of the world in another medium as our M and S did on East 10th, via an animate map at the tip of just-expired Mannahatta, timed for the 400th anniversary of Hudson’s voyage up the river. Diane [...]
Following an interview with Curtis Fox, further research into the vagaries of the word “wight,” from the first cherished line of Shakespeare’s sonnet 106: by his time it means not just creature, but ghost.
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 [...]
And this flight away, not toward (this being a recollection predated after the flood), the exquisitely hammered-away granite isle of perfect crossings will give rise to a conversation about compression: the constraint of the cube, on the one hand, producing energy by compression, and the infinite permutations of the grid.
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 [...]
does the day feel like it has nullified a decade I took (thanks to power icons) as having acquired wisdom (that outmoded concept)— of the memory of trauma long suffered that nationalism doesn’t mend, of justice and higher solutions to conflict?
As the helicopters provide the day’s soundtrack to beatification timed—strategically?—to coincide with May Day, as if they were timekeepers for distant strikes unapologetic in “volatile” areas where death’s the apparent remedy to be administered in the names of god, one really longs to hole up for a while underground in the desuetude of calcified acqueducts [...]
If only the latterday racists who pasted up the thankfully worn & bleaching anti-immigration posters in the neighborhood would take a look at The Emigrants depicted in 1895 by Angiolo Tommasi waiting to embark in Genova (at the Galleria Nazionale d’Arte Moderna)—however romantic, in its display of backs and packages at large a later version [...]
In thinking through the title of Ezra Pound’s A Lume Spento, which cites Dante’s imagination of the unlit transmission of a heretic’s bones to the Verde River, the past days have been full of tides, startled by Lila’s dream of San Clemente full of water: the river Tevere, its eels and desecreated bodies, its healing [...]
“Why wasn’t he?” asks Mr. Walcott when I’m supposed to be interviewing him. “Too chatty, too bloody discursive, in the presence of oranges.” I can’t think of any lines to cite, nervous. Street details. “He was beautiful.” Two remotenesses colliding, the optimism of free 50s poets and painters in which one could fall to a [...]
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 [...]