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B Barg Creative Resume
Barbara Barg Chicago,IL. [email protected] Writing Books The Origin of THE Species (Semiotext(e) ) Distributed by Massachusetts Institute of Technology (MIT) Press Back cover photograph by Robert Mapplethorpe Obeying the Chemicals (Hard Press); Photographs by Nan Goldin Anthologies American Poets Say Goodbye to the 20th Century (Four Walls Eight Windows) Edited by Andrei Cordrescu and Laura Rosenthal Poems for the Nation: A Collection of Contemporary Political Poems (Seven Stories Press) Edited by Allen Ginsberg with Andy Clausen and Eliot Katz AM LIT: Neue Literatur Aus Den USA (Edition Druckhaus / Germany) Edited by Gerard Falkner and Sylvere Lotringer Out of This World: The Poetry Project at St Mark's Church-in-the-Bowery; 1966-1991 (Crown Publisher, Inc) Edited by Anne Waldman, forward by Allen Ginsberg The L=A=N=G=U=A=G=E Book (Southern Illinois University Press) Edited by Charles Bernstein and Bruce Andrews Screenplays Nothing for You Spirit Photographer Self-Made Boy Gun Control Written with Andrea Kirsch for Jump Room Films, Independent Production Company in Paris Exhibition Catalog Essay for Barbara Ess’s photography exhibit I Am Not This Body The Curtis Marcus Gallery (New York City) Barbara Barg!Page 1 Teaching Pulse Poem Pulse (Chicago School of Poetics) Class focusing on rhythm, tone, voice, texture (ongoing) Writing/Oral History Oral history interviews/writing workshop for parents Chicago Arts Partnership In Education/Victor Herbert Elementary School Jesl Cruz, teacher/Arnie Aprill, Director of CAPE Chicago, IL Voluntary -
D.A. Levy Lives Ellipsis Press, ND/SA, and Roof Books Authors, Celebrating Renegade Presses and Music from Jason 17Th Annual Trachtenburg
BLACK SUN LIT 2 DOUBLECROSS PRESS 3 ELLIPSIS PRESS 4 ND/SA 5 BOOG CITY ROOF BOOKS 6 A COMMUNITY NEWSPAPER FROM A GROUP OF ARTISTS AND WRITERS BASED IN AND AROUND NEW YORK CITY’S EAST VILLAGE ISSUE 133 FREE Celebrate Five of the City’s Best Small Presses Inside in Their Own Words and Live Readings from Black Sun Lit, DoubleCross Press, d.a. levy lives Ellipsis Press, ND/SA, and Roof Books authors, celebrating renegade presses and music from Jason 17th Annual Trachtenburg. NYC Small Presses Night Bowery Sun. Dec. 15, 3:00 p.m., $10 Poetry Club 308 Bowery (@ E. 1st St.) Book Fair The East Village Info 212-842-BOOG (2664) [email protected] 3:00-3:30 p.m., 5:30-6:00 p.m. @boogcity BOOG CITY 2 WWW.BOOGCITY.COM from from from [WANTON] Meat Habitats The City is Lush with by Christy Davids by Angela Hume Obstructed Views by Greg Nissan we are taught (re)production a hook shock determines If it is you the social value of female bodies, so in the cortisol Lay and remove the scaffold, It won’t be called making I can secrete with discretion night sign But revision tills the hand warrant only instances Hedonic. It loses its loss of mating and sheer over a door scratching fraction prettiness, perpetual arousal carousel in riotous green DOUBLECROSS PRESS from xxox fm by Joshua Escobar a.k.a. dj ashtrae in the supermarket full of mistakes my dream husband motions muddy socks over his navel i gave my future to him last night from It’s no Good from Everything’s Bad Headlands Quadrats by Stephanie Young by Brian Teare I can’t claim this is a translation of Kirill’s chasing prey a kind translation of Bukowski of looping beauty from or the way Bukowski appears in Kirill’s early Meteorites poems as translated by Keith Gessen back into off-kilter wobbling by S. -
Muñoz Meditation
Liminalities: A Journal of Performance Studies Vol. 12, No. 3 (2016) Muñoz Meditation Tracie Morris He ghost. Recalling turntables jerry-rigged between street lamps along the East Coast, the articulated mélange of the global and American South, proto-technology of repurposed analogue sounds in scratches of DJs, defined the Queer, colored and experimental communities that became the populist pointillism of Jose Muñoz’s generation. Earlier Hip Hop inflected iterations of leaving an aspect of impermanence, vulnerability and transparency this is a primary verb of minoritarian subjects. The subject of leaving, that came to be the parlance of the “grown folks” we’ve now become, that we’ve been immortalized as, went from “They [he/she/I’m] out of here”/ “outta here”, to “outtie” to “Audi 5000” to “[They, etc.] ghost” to “[They] Swayze, yo.” This one narrative/linear stream from English to some- thing beyond/past conventional English constraints, was blending and (re-) emerging space-time before the unification via the lingua omni of digitized and simultaneous dispersion. From “I’m out of here” to/through “I’m Swayze” is an apt baseline for Jose’s meaningfullness. The reconfiguring of an English phrase to a reference of an actor who’s known as much for playing a disembodied spirit as for playing a Tracie Morris is a poet who has worked as a page-based writer, sound poet, critic, re- cording artist, scholar, bandleader, actor and multimedia performer. She presents her work widely around the world. Her sound installations have been presented at the Whitney Biennial, MoMA, The Philadelphia Museum of Art, Ronald Feldman Gallery, The Silent Barn, The Jamaica Center for Arts and Learning, The Drawing Center, DIA: Chelsea and other galleries and museums. -
2018 Poets House Showcase
Poets House | 10 River Terrace | New York, NY 10282 | poetshouse.org ELCOME to the 2018 Poets House Showcase, our annual, all-inclusive exhibition of the most recent poetry books, chapbooks, broadsides, artist’s books, and multimedia works published in the United States and abroad. W This year marks the 26th anniversary of the Poets House Showcase and features over 3,400 books from more than 750 different presses and publishers. For 26 years, the Showcase has helped to keep our collection current and relevant, building one of the most extensive collections of poetry in our nation—an expansive record of the poetry of our time, freely available and open to all. Every year, Poets House invites poets and publishers to participate in the annual Showcase by donating copies of poetry titles released since January of the previous year. This year’s exhibit highlights poetry titles published in 2017 and the first part of 2018. Books have been contributed by the entire poetry community, from the poets and publishers who send on their newest titles as they’re released, to library visitors donating books when they visit us. Every newly published book is welcomed, appreciated, and featured in the Showcase. Poets House provides a comprehensive, inclusive collection of poetry that is free and open to the public. The Poets House Showcase is the mechanism through which we build our collection, and to make it as comprehensive as possible, the library staff reaches out to as many poetry communities and producers as we can. To meet the different needs of our many library patrons, we aim to bring together poetic voices of all kinds. -
Download the Exhibition Catalog
SIGNAL 1 TO NOISE S/N S/N 2 BOYCE & BAILEY BUERHAUS COLEMAN DE BOER LA BARBARA MORRIS PLACE REINKE RHODES SCRAAATCH TUPITSYN ULTRA-RED USTVOLSKAYA WANG S/N 6 introduction 46 IGNOTUM PER IGNOTIUS 12 CALL AND JAMES RESPONSE COLEMAN BLAIR MURPHY 60 ARTISTS 24 SENTENCED 90 works in the WORDS exhibition ANYA KOMAR 92 acknowledg 36 ATMOSPHERE, ments SIGNALS ALEX FLEMING 7 S/N, an abbreviation for signal-to-noise ratio, refers to the balance between a message and the background noise emanating from the introduction materials and environments it traverses. An exhibition of diverse practices including video, sound art, conceptual writing, and music, S/N examines the material complexities of sound as a force that both allows and frustrates communication. While the works on view employ various media, they all interrogate the historical and political contexts of audibility: how, where, and when something can be heard. The exhibition begins with a performance of Piano Sonata no. 6 (1988) by Russian composer Galina Ustvolskaya. Working in Leningrad/St. Petersburg from the 1940s until her death in 2006, Ustvolskaya created works characterized by a striking brutality achieved through demanding, even violent, performances. The score for Piano Sonata no. 6 instructs the performer to hit the instrument especially forcefully, requiring bodily actions that cause the performer physical pain. The harrowing music that results speaks, wordlessly, to life under a repressive power. Like Ustvolskaya, Tracie Morris aggressively emphasizes the performing body behind the production of sound. In The Mrs. Gets Her Ass Kicked (1996), Morris evokes a scene of brutality when she sings fragments from Irving Berlin’s “Cheek to Cheek” while slamming her hand against her chest with increasingly forceful strikes. -
Musicians Line up : 2012 Dizzy Gillespie/Englewood Fund- Raiser
MUSICIANS LINE UP : 2012 DIZZY GILLESPIE/ENGLEWOOD FUND- RAISER THE 2012 DIZZY GILLESPIE/ENGLEWOOD FUND-RAISER HOSTED BY CHRISTOPHER KENNEDY LAWFORD AND CHERYL WILLS TUESDAY OCTOBER 16, 2012 AT THE COTTON CLUB HARLEM 7:30 PM MUSICIANS LINE UP: SPECIAL OPENING BY GUITARIST DR. FRANCIS FORTE EMMY WINNER ALEX GARCIA AFRO MANTRA ALEX GARCÍA/Drums, musical direction & compositions Chilean-born, Cuban-raised, Emmy Winner 2011, drummer & composer Alejandro Garcia, studied classical and contemporary Afro-Cuban and jazz percussion at Cuba's Ignacio Cervantes School of Music under the direction of Irakere's drummer Enrique Plá. Capable of incorporating Afro-Cuban and Latin-American rhythms into the Jazz idiom, Alex has also worked in a variety of musical genres from Pop to Rock, Theatre to Jazz. Along with his performances as a leader with his band AfroMantra, Alex has shared the stage with important bands and artists in the New York’s Latin-Jazz Scene. Major performance, recording and composition accomplishments include Cuban trombonist and composer, Juan Pablo Torres also Grammy nominee singer song writer Juan Carlos Formell, Alex Foster (Jaco Pastorius, Steps Ahead), Tony Cimorosi, Frank Colón (Weather Report, Manhattan Transfer, Wayne Shorter), Omar Hakim (Sting, Madonna, Weather Report), Victor Bailey (Madonna, Weather Report), Rachel Z (Steps Ahead), Marcus Miller (Miles Davis), Najee, Oriente Lopez. Steve Kroon (Ron Carter), Chris Washburn & Syotos, Meme Solis, Israel Kantor (Los Van Van), Charles Flores (Michel Camilo, Issac Delagado), Tony Perez (Klimax), Malena Burke, Alfredo De La Fé (Fannia All Stars) among many others. Alex also has worked with several theater companies, among them, Pregones Theater and Making Books Sing. -
Tain Closing of the Eyes, a Way of Leaving, Hesitations
Books leave gestures in the body; a certain way of moving, of turning, a cer- tain closing of the eyes, a way of leaving, hesitations. Books leave certain sounds, a certain pacing; mostly they leave the elusive, which is all the story. They leave much more than the words. Words can be thrown together. It it their order and when they catch you--their time. Hey you listeners, stop what you’re doin’ and Set it in motion, it’s the next movement You listeners, stop what you’re doin’ and Set it in motion, it’s the next movement Flyleaf: text from “The Next Movement” by The Roots, DJ Jazzy Jeff, and Jazzyfatnastees, & Dionne Brand, A Map to the Door of No Return: Notes to Belonging Image: stratographic, by Blair Johnson and Luke Williams P-QUE U E P-Q U E UE BUFFALO, NEW YORK 2020 acknowledgements Publication of P-QUEUE Vol. 17 is made possible through the support of the Poetics Program and the English Department at SUNY Buffalo. Our thanks for the generous financial support of Myung Mi Kim (James H. McNulty Chair of English), Steve McCaffery (David Gray Chair of Poetry and Letters), Rachel Ablow (Department Chair), and Judith Goldman (Director of the Poetics Program). Also funded in part by the Graduate Stu- dent Association (GSA), the English Graduate Student Associa- tion (EGSA), and the Comparative Literature Graduate Student Association (CLGSA) at SUNY Buffalo. (The views expressed herein do not necessarily reflect those of the Poetics Program, the English Department, the GSA, EGSA, or the CLGSA). -
Poetic Knowledge and the Organic Intellectuals in Russell Simmons Presents Def Poetry
Claremont Colleges Scholarship @ Claremont CGU Theses & Dissertations CGU Student Scholarship Fall 2019 A Matter of Life and Def: Poetic Knowledge and the Organic Intellectuals in Russell Simmons Presents Def Poetry Anthony Blacksher Follow this and additional works at: https://scholarship.claremont.edu/cgu_etd Part of the African American Studies Commons, Africana Studies Commons, American Literature Commons, American Popular Culture Commons, Critical and Cultural Studies Commons, Ethnic Studies Commons, Gender, Race, Sexuality, and Ethnicity in Communication Commons, Inequality and Stratification Commons, Poetry Commons, Race and Ethnicity Commons, Social History Commons, Sociology of Culture Commons, Television Commons, and the United States History Commons Recommended Citation Blacksher, Anthony. (2019). A Matter of Life and Def: Poetic Knowledge and the Organic Intellectuals in Russell Simmons Presents Def Poetry. CGU Theses & Dissertations, 148. https://scholarship.claremont.edu/cgu_etd/148. doi: 10.5642/cguetd/148 This Open Access Dissertation is brought to you for free and open access by the CGU Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in CGU Theses & Dissertations by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. A Matter of Life and Def: Poetic Knowledge and the Organic Intellectuals in Russell Simmons Presents Def Poetry By Anthony Blacksher Claremont Graduate University 2019 i Copyright Anthony Blacksher, 2019 All rights reserved ii Approval of the Dissertation Committee This dissertation has been duly read, reviewed, and critiqued by the Committee listed below, which hereby approves the manuscript of Anthony Blacksher as fulfilling the scope and quality requirements for meriting the degree of doctorate of philosophy in Cultural Studies with a certificate in Africana Studies. -
Curriculum Vitae
Craig Douglas Dworkin, curriculum vitæ 71 S. 1200 E. • Salt Lake City, UT 84102 Department of English, University of Utah Phone to: (801) 661-0060 255 So. Central Campus Drive, LNCO 3500 E-mail to: [email protected] Salt Lake City, Utah 84112 Academic Employment: University of Utah, Department of English: 2004-present. Promoted from Associate Professor to Full Professor in 2009. Princeton University Department of English: 1998-2004. Promoted from Assistant Professor to Associate Professor with continuing tenure in 2004. University of California at Berkeley, History of Art Department: 1998. Visiting Assistant Professor University of California at Berkeley, Department of English, 1995-1996. Associate Instructor Education: Ph. D. English, University of California at Berkeley, 1998. M. A. English, Stanford University, 1992. B. A. English, Phi Beta Kappa w/Honors and Distinction; emphasis in creative writing. Stanford University, 1991. Primary Teaching Interests and Fields of Specialization: 20th/21st-Century literature. Comparative international experimental & avant-garde traditions. Poetry and poetics, including visual prosody and sound poetry. 20th- Century visual arts, including film and video. Artists books and book arts. Critical theory. 1 Craig Douglas Dworkin, curriculum vitæ Publications (Scholarly) Books and Edited Collections Radium of the Word: A Poetics of Materiality (University of Chicago Press, 2020) Dictionary Poetics: Toward a Radical Lexicography (Fordham University Press, 2020) No Medium (MIT Press, 2013) Reading the Illegible (Northwestern University Press, series in Avant-Garde and Modernism Studies, 2003) [Four chapters translated into Swedish in OEI 18-21, special issue on "Textkonst, Visuell poesi, Konceptuellt skrivande" (Stockholm, Winter 2004); OEI 15/16/17 (Summer 2004); and OEI 31-32 (2007); one chapter into Norwegen for Audiatur Katalog (2008)]. -
After Language Writing: in Defense of a Provisional Poetics
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2013-06-26 After Language Writing: In Defense of a Provisional Poetics Roberson, Michael Roberson, M. (2013). After Language Writing: In Defense of a Provisional Poetics (Unpublished doctoral thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/24737 http://hdl.handle.net/11023/768 doctoral thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY After Language Writing: In Defense of a Provisional Poetics by Michael Roberson A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ENGLISH CALGARY, ALBERTA JUNE, 2013 © Michael Roberson 2013 Abstract This dissertation contextualizes North American “Post-Language” writing within a discourse about poetry and ethics—a discourse that I associate with explorations of ethical responsibility in poetic defenses. I posit a theory of “provisionality” in order to account for both the poetics and the ethics of the poetic defense. Provisionality consists of three aspects—the necessary, the conditional, and the anticipatory—aspects that characterize how apologists organize their defenses, and how poetry takes responsibility for the world, the audience, the poet, and the text. -
Tracie Morris's Poetic Experience
RSAJOURNAL 29/2018 IRENE POLIMANTE Tracie Morris’s Poetic Experience: From Slam Poetry to Sound Poetry Inside Slam competitions Slam poetry belongs to the multifaceted movement of Spoken Word Poetry, which engaged academic and media interest during the 1970s as a youth-counter-hegemonic cultural practice (see Sparks and Grochowski), and which “exist[ed] outside the mainstream literary, cultural, and musical genres” (Jenkins 10). Although nowadays it is a geographically, culturally and situationally constructed genre, there is a common feature that associates the many different poetic spoken-word-forms1 with this heterogeneous movement. Spoken-word poems, indeed, are texts written in everyday language to be interpreted or simply read in front of an audience. The use of voice, sounds (even breath), intonations, gestures, mimic, and body movements are pivotal for the poetic performance, which is not the mere oral representation of a poem2 but the subversive act to “open spaces between oral and written forms of creative expression by moving the spoken-word-poet’s voice from the paper through his or her body, thus serving as a bridge connecting the lived experiences and social realities of individuals through discourse” (10). These texts, typically written and delivered in the first-person pronoun, directly engage the audience on topics of political and social interest, while the physical presence of the poet opens the way to human bonding and engagement as well. Moreover, the use of public spaces, such as cafes, theatres, parks, event centers, -
A Case Study of Tracie Morris's Project Princess Tammie Jenkins Louisiana State University and Agricultural and Mechanical College
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2014 A case study of Tracie Morris's Project Princess Tammie Jenkins Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Education Commons Recommended Citation Jenkins, Tammie, "A case study of Tracie Morris's Project Princess" (2014). LSU Doctoral Dissertations. 79. https://digitalcommons.lsu.edu/gradschool_dissertations/79 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A CASE STUDY OF TRACIE MORRIS’S PROJECT PRINCESS A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Education by Tammie Jenkins B.S., Southern University, 1992 M.A., Southern University, 2007 May 2014 Copyright©2013 Tammie Jenkins All rights reserved ii This is dedicated to my parents Mrs. Valerie Brown Jenkins and the late Mr. Lionel Jenkins Sr. (August 2, 1945 – September 11, 2000) who took the time to instill morals, values, and the love of learning in me at a very young age. iii ACKNOWLEDGEMENTS I am immensely appreciative of everyone who shared their knowledge with me throughout this academic voyage. With extreme gratitude and esteem I thank my major professor, Dr. Denise Egea, for her wisdom, patience, support, and personalized mentoring throughout my journey.