Tuesday, September 21, 2010

Everybody's Paying Tribute to the Money (aka the fine print)

The iClops toy camera--a microscopic viewer with USB input--never worked as well for me as the Vidster toy camera for this project, even though I imagined it could really get down to the particular. At the very least it could magnify those fine-print prose passages, translating them into another dimension. Here is a piece of data junk from the harddrive of the iClops reading from Book II.

Labels: , , , , , , ,

Thursday, March 26, 2009

Testing My Pipes

Data floodgates opened onto the real thing!

Labels: , , , ,

Sunday, October 05, 2008

Punching In

It's kind of weird, a video that originated in a blog ending up at a big-screen festival, but there you go: a video from New Jersey as an Impossible Object will be in Berlin's Zebra Poetry Film Festival at the end of this week. I love how Google translates my description: "A punch card combines the infinite world of work, nature and the machine. The punch card that interfaces the vast worlds of labor, nature and machine. The punch card that interfaces the vast worlds of labor, nature and machine."

Labels:

Wednesday, September 17, 2008

Word of the Day: Periplum
















This past week at Conflux in NYC, I met Brian House, creator of the Yellow Arrow mapping project, who introduced me to the word "periplum" (click video link for definition). I'm surprised the term is not much mentioned in relation to Williams' Paterson, although, I also wonder how deep it's buried in the Cantos, and how long it took to harden into a concept that could survive its original context. After all, Pound didn't append each canto with a "word box." Any clues about the origins and trajectory of this term would be appreciated. One of Brian's projects is Periplurban: An Urban Experiential Dictionary, which was created with his students as part of a workshop at Columbia's School of Architecture, Planning, and Preservation.

Labels: , , , , , ,

Thursday, September 04, 2008

Driving--


















Downtown Paterson, especially on a hot summer day, is a driving nightmare. However, I am feeling a little nostalgic for those packed streets, the slow crawl through that knot of intersections where buzz the mysterious commercial convergences between hip-hop clothiers, cellphone wallahs, dollarstore clerks, Peruvian restaurateurs. All more lively than the “dead” industry around the nearby Falls.
Before I left, I wanted to capture (with my Vidster) at least some small sense of one of the more disconcerting elements of this traffic pattern, the way in which pedestrians will walk right out into the middle of traffic—perhaps a form of territorializing, protest, or more simply, impatience. Even parents with baby carriages will make their way in front of slowed cars—of course slowing things down all the more—to get from exactly the point where they were to exactly the point they want to be. And for all that impatience, oddly enough, Paterson comes off as a city of flaneurs.
The soundtrack on the radio seems appropriate now in retrospect, but the sound of Paterson itself has more poetry. I felt almost embarrassed listening to NPR’s wistful, effortless version of poetry while crawling through the Williams’ hard-worked-upon source material as well as through the bodies of the actual hard-working themselves, “Who are these people (how complex/ the mathematic) among whom I see myself/ in the regularly ordered plateglass of/ his thoughts, glimmering before shoes and bicycles?” I have no idea who Bob Edwards is interviewing, but the poet on the radio regales us with this bit of stellar scholarship: “You know Whitman was not an English professor. As far as I know, he didn’t have an office or tenure.” Gee, thanks. I’m sure if there were any poets on the streets of Paterson at the time, they would also be able to add that he wasn’t having no Sunday tea with Bob Edwards on the radio, either.

Labels: , , , , , ,

Saturday, July 19, 2008

Ginsberg Drift

















As described by Al in the last entry, here is the clip of Allen Ginsberg taking documentarists through the defunct industrial groves of Paterson, and talking about "no ideas but in things." He starts with his reading of one of his letters to Williams (which we musicated earlier this spring for the blog) and somewhat reinforces my hunch that Williams did not expect Ginsberg to become famous, since Ginsberg describes Williams as wanting his letters for their "street" quality (the way Ginsberg mentions this, you get a sense that he might have felt honored by this inclusion but also condescended to.) This footage was shot 20 years ago, and from what little you can see, the landscape remains little changed. As one is apt, Al marvelously scrambled the elements of this footage in his memory. I'm still looking for the boot and the shopping cart!

Labels: , ,

Monday, December 17, 2007

It's Hard to be Hydrocephalic

Last week, New Jersey as an Impossible Object taped Graham Stowe singing his Patersong "The Skeleton of Peter the Dwarf" based off material from Books I and IV (pp. 10 and 192 respectively). The music is by Jonathan Sircy. More of their songs based on Paterson can be found on archive.org. Graham is a doctoral candidate here at the University of South Carolina, and is embarking on a dissertation about Williams' Paterson and Olson's Maximus Poems. Along with Kenneth Camacho, he's kept a blog, The Paterson Project, which documents their use of Paterson as raw material for new poems and songs.

The Skeleton of Peter the Dwarf

It’s hard to be a hydrocephalic.
54 inches, head to toe
(27 from my chin to scalp alone;
That makes me a marvel.)

Washington came to see me
(the man, not the city; or, maybe, the city is the man).
He looked at me; marveled at me;
I answered with inactivity.

I floated along, day to day,
endlessly rocking,
loving Jesus and preacher’s conversation,
swelling with pride at the show I could provide.

It was hard for me to move,
my head being so huge,
but I got by without going out;
keeping to the cerebral.

my head's got its own box now,
it's lost all its water!
and now they say my skull is a marvel!
but they say nothing of the parts of me everyone's had.

What I never told in my time
was that, more than theology or phrenology,
all I ever wanted out of life
was to not shit in my cradle.

A tiny outhouse with plenty of headroom,
straps to hold me up and a stand
from which I could read
my Bible or a dirty magazine.

Oh that would be marvelous.
“A marvel indeed,” they would say,
as they tied me in and
sang of my tenacity.

Labels: , , , , , , , ,

Tuesday, November 06, 2007

Catch Up with the Impossible Object 2

Index update (6/19/06-11/06/07)

Video entries
Pat(t)erson: Two T’s or One? video only . . original entry
Loof for the Nul video only . . original entry
A Dissonance in the Valence of Uranium video only . . original entry
Paterson: When You Know! video only . . original entry
Outside Myself There is a World video only . . original entry
Mystery Mountain, Part One video only . . original entry
A Thousand Automatons video only . . original entry
Mystery Mountain, Part Two video only . . original entry
Make A Song Out of That: Concretely video only . . original entry
From a Roseate Past video only . . original entry
Mighty Alternative Media video only . . original entry
1896, Passaic Falls video only . . original entry
Thursday in Paterson video only . . original entry
Secret Shrine video only . . original entry
The Thing Itself! video only . . original entry

Audio entries
Radiophonic Paterson Mix #1 audio only . . original entry
Sam Patch! audio only . . original entry
Make A Song Out of That: Concretely audio (with video) . . original entry
Buried Heterogeneity: Lytle Shaw on Paterson original entry (with audio links)
What There Is: Amelia Arenas on Williams original entry (with audio links)
The Wonder Years: Carole Maso on Paterson original entry (with audio links)
Locust Song audio only . . original entry
Beyond the Symbol: Bob Perelman on Paterson original entry (with audio links)

Audio Discussions of Paterson in Paterson
Interpretation and commentary
“No Ideas but in Things” or “Under the Concrete, the Ocean”? original entry
White Flights original entry
Notes on the Paragram: Poetry and Comedy 1 original entry
Notes on the Paragram: Poetry and Comedy 2 original entry
Rigor of Beauty original entry
From One Old Coconut to Another original entry
I Never Told You To Read It original entry
Between Athens and the Amphioxus original entry
Bulkeley, Hunt, Williard, Hosmer, Meriam, Flint original entry
Morir Sonando original entry
The Reality! The Reality! original entry
Gould, Lyle, Nardi original entry
Things! original entry

Labels: , ,

Wednesday, August 08, 2007

Secret Shrine

If you go to Paterson, you may now happen upon a secret shrine to William Carlos Williams' poem. Although, it might not be there anymore. Composed of trash the Education Department leaves in the abandoned Hinchliffe Stadium (e.g. busted file cabinets, waterlogged textbooks, wobbly bookcarts), the shrine is itself subject to the vagaries of what constitutes trash and what art . . . and what, for that matter, desirable furniture. After the first day, the "library" aspect of the shrine--a small bench facing a bookshelf under a tree sprouting from the concrete and stocked with English textbooks and xeroxes of Paterson in baggies--was disrupted when someone must have realized that the bookshelf was indeed still a good book shelf, and took it away (even though it may have been there for years.) It must have been a critic, because they also let their dog "have their way" in the shrine as well. The orange design is a shadow of the jacquard--the punch card that interfaced the vast worlds of labor, nature, and machine in the old silk mills.

Labels: , , , , , , ,

Thursday, June 28, 2007

Walking--















This week, I hosted the third meeting of the Paterson book club--reading Paterson, in Paterson, with Patersonians--and we focused on Book II. Listen here for a recording of much of the discussion (large mp3 file). Since Book II arrays multiple views of Garret Mountain, I've included the 25 cent view from the binocular machine mounted at the cliff's edge. Free for Impossible Object readers (click on image)! Last discussion group meetings are on July 2 and 9 at the Ivanhoe Arts Center.

Labels: , , , , , ,

Wednesday, June 13, 2007

Music It For Yourself

Last weekend, the artist duo eteam "made a song out of it: concretely" with their Stadium Reverberator project. Their goal was to turn Paterson's abandoned Hinchliffe Stadium (interior pictures of which are in this Impossible Object entry) into an instrument: "Looking at the stadium from above, it reminds of a huge loudspeaker. Unfortunately this loudspeaker hasn't been used in a long time. On Saturday we will try to use this dormant possibility and trigger a composition, which will be created through knocking, jumping, scratching and clapping on the outside walls of the stadium. These sounds and movements will be captured on video and later on edited into a musical composition." I took some rough video and pictures (click on image or here) while taking a break from climbing walls, tossing chains and chunks of metal and concrete. Hopefully we'll get to see eteam's own video in the near future.

Labels: , , , , , ,

Friday, May 18, 2007

Catch Up with the Impossible Object

Index update (6/19/06-5/13/07)

Video entries
Pat(t)erson: Two T’s or One? video only . . original entry
Loof for the Nul video only . . original entry
A Dissonance in the Valence of Uranium video only . . original entry
Paterson: When You Know! video only . . original entry
Outside Myself There is a World video only . . original entry
Mystery Mountain, Part One video only . . original entry
A Thousand Automatons video only . . original entry
Mystery Mountain, Part Two video only . . original entry
Make A Song Out of That: Concretely video only . . original entry
From a Roseate Past video only . . original entry
Mighty Alternative Media video only . . original entry
1896, Passaic Falls video only . . original entry

Audio entries
Radiophonic Paterson Mix #1 audio only . . original entry
Sam Patch! audio only . . original entry
Make A Song Out of That: Concretely audio (with video) . . original entry
Buried Heterogeneity: Lytle Shaw on Paterson original entry (with audio links)
What There Is: Amelia Arenas on Williams original entry (with audio links)
The Wonder Years: Carole Maso on Paterson original entry (with audio links)

Interpretation and commentary
“No Ideas but in Things” or “Under the Concrete, the Ocean”? original entry
White Flights original entry
Notes on the Paragram: Poetry and Comedy 1 original entry
Notes on the Paragram: Poetry and Comedy 2 original entry
Rigor of Beauty original entry
From One Old Coconut to Another original entry
I Never Told You To Read It original entry
Between Athens and the Amphioxus original entry
Bulkeley, Hunt, Williard, Hosmer, Meriam, Flint original entry

Labels: , ,

Sunday, May 13, 2007

1896, Passaic Falls











"The past above, the future below
and the present pouring down: the roar,
the roar of the present, a speech--
is, of necessity, my sole concern ."

1896 Edison film of Passaic Falls. More info.
Thanks to Dan Streible for pointing this out.

Labels: , ,

Thursday, February 22, 2007

From a Roseate Past












"And there rises
a counterpart, of reading, slowly, overwhelming
the mind; anchors him in his chair. So be
it. . . .
Texts mount and complicate them-
selves, lead to further texts and those
to synopses, digests and emendations. So be it.
Until the words break loose or--sadly
hold, unshaken. Unshaken! So be it. For
the made-arch holds, the water piles up debris
against it but it is unshaken." (Book 3, Part 3)

I picked up a pile of random secondary sources on the poem Paterson yesterday at the library. I'm not sure how many I will get into. I opened one today to a grim but apt description of Paterson as "a city known to itself only as a place of processing raw material and dumping the by-products, material and human" (Duffey 69). We can think, though, that while industry performs this operation in an unwholesome way, that the counter project of the poem Paterson, as well as our own activities--exalted and mundane--are precisely this processing, with hopefully an element of recycling, so the trash heap does not grow beyond human reckoning. In the spirit of recycling, here is a clip not used from an older journey to Paterson.
Recently, I talked to an art group about their like-minded experiments in Paterson, and so while posts will continue to operate an their accustomed distant, recycling remove, I plan to join them in full immersion come June.

Labels: , , ,

Thursday, February 08, 2007

Pixelvision Redux: A Note on the Technology



Most of the video on this vlog was recorded with the Fisher Price Vidster camcorder, the latter-day digital cousin on the legendary PXL-2000 children's camcorder. This newer version, released in 2005, never acquired the cachet that the original did. Its image is not as immediately stunning, although one eventually discovers the kodachrome-esque things it does with blues and greens. When it came out, the price ratio between it and bargain-basement mini-DV was negligible (greedy retailers upped the suggested retail 40%, perhaps hoping to benefit from the cult following of the original), so it no longer had the charge of a cheap alternative. (However, you can now get Vidster on eBay for $10-20, while the PXL-2000 still goes for $100-500.) The weirdness factor of recording video on audio tape has been replaced by more standard flash recording: cheaper, but no longer outre.
However, I've enjoyed this camera and its charms, from the way it picks up a corner of sunlight (similar to PXL-2000 sunbursts) to its ruggedness. The Vidster gets closer to the idea of "video pencil" than most cameras that I would treat more like "video nice pen that I got for graduation." Since it records at 15 fps it's perfect for a blog--what you see is what you will get, no compression heartbreaks. It retains the black frame of old pixelvision, so that the image reels in its little charm box, an effect enhanced by the way takes are recorded as discrete files opening onto QuickTime moments (recalling Vivian Sobchack's essay on QuickTime, nostalgia, and Joseph Cornell.) It CAN be used with Macs and Final Cut Pro (regardless of what it says on the box) and has good on-board sound, even though I opted for working dual-system on most of the vlog. In the end, though, I don't think I'll use this camera much longer. I documented a good amount of fragments of 2006 with it*, but--as toys go--it is beginning to lose my attention. I am drawn, however, to this new helmet-cam for kids.
I wonder if the same people who created the first kids' camcorder for Fisher-Price--James Wickstead and Associates--had any input with this second camera. Probably they didn't, since Wickstead sketchily hinted to me that a new color version might be released in 1998, and then it never manifested itself. Click here for my unpublished interview with him in 1997 discussing his invention, and his possible future plans, now past.
*I'm having a little tech trouble with creating fields of Vidster video for this link. They all seem to show up better on Safari, but play easier on Firefox. Try reloading a couple times on a fast connection. (Wait, this may indeed turn out to be a compression heartbreak.)

Labels: , , ,

Saturday, January 27, 2007

Mystery Mountain, Part Two

If you are following this vlog, way back in September we had Part One of a journey to a inconspicuous-conspicuous hummock that had haunted our guest-drifter Kyle Lapidus whenever he passed it on the highway. Turns out that this haunting led us to Garret Mountain itself, and constituted New Jersey as an Impossible Object's first trip to this place, central to Williams' poetography (a word that--if you force it between a volcano, a tectonic plate, and a word processor--becomes topography). While Williams found ghosts of a German Singing Society transformed into a vengeful mob, and dead babies killed for crying too loud, we found Middle Eastern women posing on tanks for boudoir photos, and plentiful cries of little children.

Labels: , , , , ,

Monday, January 01, 2007

Make A Song Out of That: Concretely

When I first saw this extant poetry, I couldn’t write it down because I took all my pens out of my pocket so they wouldn’t explode while I slept in the back seat of my car. I thought about the generations that must have puzzled over Paterson’s most prominent concrete poem, especially because the Q in JACQUARD—hardest, most lost and ancient word!—was the letter most eroded. Once I secured a pencil from a mini-mart, I appended my transcription with the line “a daily deformity to be deciphered,” which I think must be from Paterson but I can’t find the citation at this moment. In any case, I immediately crossed out this line, perhaps thinking it a bit much . . . maybe my initial lack of equipment let me appreciate the purity of this string of words that conjured and crafted string itself. Googling them, I imagined that there would be umpteen references on historical and city sites. However, it seems only the Japanese are hep to their poetry, and these particular tourists were even curious enough to find the referent, which I did not know existed. The actual Silk Machinery Exchange Building is now a half-way house, and the Paterson Museum, where you will now find the machines, is oddly across the street, which I guess is also half-way, between use and oblivion. The museum is hard-to-find for those of us who move more by serendipity than by travel guides, and it is over-shadowed by the more prominent “Cultural Center,” a stone’s-throw away.
The Paterson Museum is a bonanza of found language. A yellowed tag provided an addendum to the Silk Machinery Exchange text: Reeds, Harness, Lingoes, Shuttles, Quills, Pickers, Twine, General Weavers Supplies, Loom Fittings. I wondered how the pride of the “lingo” went apace with the development and mastery of the machine. We’ve (weave?) come a long way from the crack of the Jacquard Q to the narcissistic buzz of terms MySpace, iPod, and YouTube, even though the Jacquard card started it all, the origin of the computer. (Let’s not get sucked into the eddy of the mise-en-abyme again.) The words--like the machines whose noise once filled the air of the streets here--are now silent.
In a dark corner of the museum, a lexicon of nostrums: delphinium, quassiae, jalapae, digitalis, pimpenell, aether, lavender, anisi, citronella, myrrhae, cudbear, Syrup of Rhei, Mavis Talcum, Tancro Cough syrup, Unguentine, Salva-cea, Anti-Drink, Granulated Black Draught, Larkspur lotion, Vinol, Kondremul, 4-Way Cold Tablets, etc.

Labels: , , , , , , , ,

Wednesday, December 13, 2006

A Thousand Automatons

Saturday, September 30, 2006

Mystery Mountain, Part One

Day Six
“In ignorance/ a certain knowledge.” There are places on the highway that I think everybody has an intimate knowledge of, yet knows nothing about. They are those little inconsistencies or changes that mark time or space in an otherwise monotonous forward motion, curves of road that suddenly say “closer” or “farther” or “amidst,” if only to you. For me, maybe for you too, it is the place on route 78 where the highway starts to be walled with tan concrete (sound baffles for bedroom communities?) and promises the approach of New York; there’s the barn that is painted “Vote Republican” where the highway makes a sharp turn taking you that much closer to Chicago on the way from Milwaukee. You might also remember that moment in John Barth’s classic deconstruction of forward motion, “Lost in the Funhouse,” where the boys look for the electrical towers and the standpipe on the way to “Ocean City.” For Kyle Lapidus, it is a hill in Paterson that has this kind of insignificant-significance. He has only ever seen it from the highway but, in his estimation, it is the most important hill or mountain of any he has experienced . . . or rather, despite never having experienced it. We take a closer look. Who needs Pedro? In two parts.

Labels: , , , , , ,

Monday, August 28, 2006

Outside Myself There is A World

Day Five
I set out with Alexis Bhagat and Sahra Walker to try the heart of Paterson once again. I seem to have many mistaken notions as to the nature of this heart. For instance, I have been avoiding the falls: touristy, too easy. After another long, hot day, however, we drive down Ryle Rd. past the old factory buildings and the animal shelter, park the Buick, and take the wooded path to the falls. I am thinking that I have failed to connect to the city. However, in a quiet corner where the falls eddy at the mouth of a mammoth open pipe, we meet Tony, for whom the falls is the true Paterson in contrast to the commercial, violent, and seductive forces of the street. Contrary to what I had been thinking, for Tony, the falls were a site of black power, the psychic center of the city's integrity. The rest was Babylon. The waters of the Passaic seemed to hold powers of self-actualization. You could also probably do drugs there. Tony was both doing drugs and self-actualizing, but using one to pry free from the other. And he was also writing poetry. Here's some of what he recited for us: "She turns over her life everyday, like a hamburger slaving over the heat. Constantly constantly all they want and eat and beat is beef and beef. Cow after cow after cow I ask now, when will they just want milk?" The prostitutes on Van Houten St. seem to be a continuity between Williams' world and Tony's. We leave Tony and end up at the library, where I find out that all the archival Williams materials are in Hackensack.

Labels: , , , , , ,