Wednesday, December 31, 2008
Sunday, December 28, 2008
NO IDEAz BUH . . . CHEEZBURger?
In the shower today, I thought "Maybe I should turn WCW into a LOL cat?" Of course, as one usually finds in the recombinatory world of the Internet, where one meme attaches on every possible apt object unto infinity, it was already done. Twice! And both times with the same poem ("This is Just To Say," of course, full of lol-cat sheepishness . . . although they would have been more funny if plums were replaced by CHEEZBURGER!) Stock photos of William Carlos Williams shift between the angry "tunite i peez on efrytin u oen" face and the "u gots new bird? ai hadn't noticed" face. But I decided to stick to cats cause iz bing lazee 4 ez funee. Paterson is not as ez to transform into lol-Caterson (although the Bible seems to be; maybe because no "ceiling cat" in Caterson. Say it, jus CHEEZBURGER.)
Of course, Ezra Pound was already speaking LOLcat-speak way back:
Sunday, December 21, 2008
Benevolent Indifferent Attention
A small fragment and continuation of an earlier Ginsberg talk on Williams, this file touches upon Williams and Buddha mind, the "naive" poetics of Marsden Hartley, the capture of raw perception, green armpit writing, and dodging the social brain. Ginsberg starts in a particularly winning way, then seems to get rattled by a question that sends him into a train of truisms about particulars and universals, but then towards the end, he gets back into his groove, but the question is, is his "groove" a manifestation of social brain or buddha mind? Is this distraction the moment when poetics has a chance to "converge upon mindfulness?" Or is it less to be found in his routine, and more in the clacking of folding chairs in the last seconds of the file? By the way, I'm wondering how the buddha mindfulness flashing in the moment of first capture really relates to a "poem is a machine made of words"?
Monday, December 15, 2008
enter these starved and broken pieces
Possible Intro (1 min. 35 sec.)
well, even though it's intentionally clunky, for something that I've spent so much time on it's probably not an appropriate opening, especially since the pandering, sterile beat gives it the feel of a public radio PSA on monitoring your cholesterol.
It's the locality! (1 min. 33 sec.)
I love Williams' quote that art is not "putting sugar on cake." A crucial bit from the PennSound bytes. Exposition, exposition so . . . yawn? (one person has told me it's boring for those who already know Williams-- the core audience; evidence of constant my schizophrenia concerning who it's for and who will listen. But wait, it's not all sugar on cake, buddy!)
Have you ever been to Paterson? (2 min. 5 sec.)
Cloying? Also, when editing, I had a lot of trouble making the Carole Maso samples really sound like they fit; I still think they might be a little off, even though they provide some crucial connective material and diversity of voice (I found myself overusing Bob Perelman and Lytle Shaw throughout, so any chance I had to get other material in, I took it.)
Blocked (4 min. 31 sec.)
I think this section is the most successful at doing what I wanted the piece to be doing, a mix between informational and musique concrete elements. I do think that, as it goes on it succumbs to the banality of overused effects, which, while may have some place in a more live setting, I think falls a little flat here after a while. For some reason, I think the loops and delays and filter sweeps went on for so long because I wanted to get some particular sound bites in, but but by the time that they fade up into the mix, it already feels like they've been "said" on a subconscious level.
Friday, December 12, 2008
A Sort of a Song
Let the snake wait under
and the writing
be of words, slow and quick, sharp
to strike, quiet to wait,
-- through metaphor to reconcile
the people and the stones.
Compose. (No ideas
but in things) Invent!
Saxifrage is my flower that splits
When Williams says "let the snake wait under/his weed" it seems like he's saying: give that to the snake, it don't interest me none. Does that carry over to writing with words? Is Williams NOT writing with words (my interpretation above that the poetry happens BETWEEN the words might carry this out)? In this case, a metaphor that reconciles people to the stones would be the problem with metaphor. However, the "let" could also be a kind of laissez-faire attitude, a benediction even. This is what snake does. Amen. This is what words do. Amen. Yet, is this the natural order of things? "Let" could also announce the trope of hysteron proteron (since the snake is waiting and the words are striking: a distinct reversal). If all these are true, he's caught in a kind of disabling polysemy. So he returns to simple commands (to himself or to the reader). Compose. (but then he takes it a step further, and hits upon the mot juste.) Invent! He is not reconciled to writing and metaphor, but is split from it (even as it does the splitting, but in splitting it himself he (sort of) makes a song of it, or at least emerges as a kind of unified being, one, not two (although there is a two within the one.)