Real.Izing the Utopian Longing of Experimental Poetry
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Todd Rundgren to Perform at Four Winds Casinos on June 7
FOR IMMEDIATE RELEASE TODD RUNDGREN TO PERFORM AT SILVER CREEK EVENT CENTER, FOUR WINDS NEW BUFFALO, ON FRIDAY, JUNE 7 CORRECTED TICKET SALE DATE: Tickets go on sale Friday, March 29 at 10 a.m. ET NEW BUFFALO, Mich. – March 26, 2019 – The Pokagon Band of Potawatomi Indians’ Four Winds® Casinos are pleased to announce Todd Rundgren will perform at Silver Creek® Event Center on Friday, June 7, 2019 at 9 p.m. ET. Ticket prices for the show start at $29 plus applicable fees and can be purchased beginning Friday, March 29 at 10 a.m. ET by visiting FourWindsCasino.com, or by calling (800) 745-3000. Hotel rooms are available on the night of the Todd Rundgren performance and can be purchased with event tickets. As a songwriter, video pioneer, producer, recording artist, computer software developer, conceptualist, and interactive artist (re-designated TR-i), Rundgren has made a lasting impact on both the form and content of popular music. Born and raised in Philadelphia, Rundgren began playing guitar as a teenager, founded the band The Nazz, before launching a solo career. 1972's Something/Anything? prompted the press to dub him 'Rock's New Wunderkind'. It was followed by several albums and hit singles, among them I Saw The Light, Hello It's Me, Can We Still Be Friends, and Bang The Drum. As a producer, Rundgren has worked with Patti Smith, Cheap Trick, Psychedelic Furs, Meatloaf, XTC, Grand Funk Railroad, and Hall And Oates. He composed all the music and lyrics for Joe Papp's 1989 Off-Broadway production of Joe Orton's Up Against It and composed the music for a number of television series, including Pee Wee’s Playhouse and Crime Story. -
The Healthcare Riskops Manifesto
The Healthcare RiskOps Manifesto “Committees are, by nature, timid. They are based on the premise of safety in numbers; content to survive inconspicuously, rather than take risks and move independently ahead. Without independence, without the freedom for new ideas to be tried, to fail, and to ultimately succeed, the world will not move ahead, but rather live in fear of its own potential” Ferdinand Porsche And you may ask yourself, "How do I work this?" And you may ask yourself, "Where is that large automobile?" And you may tell yourself, "This is not my beautiful house." And you may tell yourself, "This is not my beautiful wife." David Byrne The End is Near “People of Earth, hear this!” A specter is haunting healthcare. And we’ve got work to do. It’s about challenging the old assumptions of managing risk because nothing has changed. Yet, everything has changed. It’s about heralding a new vision because the old one doesn’t work. Change creates opportunities. Change drives outcomes. And healthcare needs secure outcomes. Healthcare risk needs change. We must challenge assumptions: identity, role, purpose, place, power. Change built on strong beliefs that will upset the status quo. We don’t care. We are focused on moving the industry forward. Le risque est avant-gardiste. Futurism. Vorticism. Dada. Surrealism. Situationism. Neoism. Risk the Elephant. Uncaged. Risk is Nazaré. It’s a red balloon. Risk is sunflower fields. And fire on the mountain. Risk guides the first decision. It’s as old as Eden. Fight. Or flight. Risk is nucleotide. To ego. -
The B-G News April 19, 1968
Bowling Green State University ScholarWorks@BGSU BG News (Student Newspaper) University Publications 4-19-1968 The B-G News April 19, 1968 Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/bg-news Recommended Citation Bowling Green State University, "The B-G News April 19, 1968" (1968). BG News (Student Newspaper). 2201. https://scholarworks.bgsu.edu/bg-news/2201 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the University Publications at ScholarWorks@BGSU. It has been accepted for inclusion in BG News (Student Newspaper) by an authorized administrator of ScholarWorks@BGSU. Vietnam Activities To Begin Sunday Ten days of activities focusing on Vietnam are on tap here April 21-30. year. Me will discuss nis impressions of the war Planned to provide Information on the pros and situation at 7 p.m. In the Alumil Room, Thursday. co.ns of America's Involvement In Vietnam, the series Slated fo- next Friday, is Fred Ashley, adminis- of events will open with a documentary film, "Inside trative aid to Assistant Secretary of Slate McGeorge North Vietnam," to be shown at 2 and 4 p.m. In 105 Bundy. A 1957 graduate of the University Mr. Ashley Manna Mall, Sunday. served as a U.S. Foreign Sevice Officer in Vietnam A slate of seven speakers has also been arranged. for 30 months and received the Distinguished Service WGjm The first will be William Meroa, a conscientious Madll of South Vietnam. -
Diogene Éditions Libres
diogene éditions libres publié en pdf par diogene.ch copyright/copyleft l'or des fous/diogene.ch 2008. Le texte est disponible selon les termes de la licence libre "créative commons" (http://creativecommons.org/licenses/by-nc/2.0/fr/%20) La Volonté de paresse Philippe Godard Paul Lafargue Pauline Wagner Raoul Vaneigem L'or des fous É D I T E U R 2 Merci à Jean-Luc Oudry pour l’illustration de la couverture, à Pascal Lécaille pour la préparation des textes, à Frédérique Béchu pour la réalisation du livre et à Jean Pencreac’h pour la correction. © L’or des fous éditeur, Nyons, 2006 ISBN : 2-915995-06-0 3 « La paresse est jouissance de soi ou n’est pas. N’espérez pas qu’elle vous soit accordée par vos maîtres ou par leurs dieux. On y vient comme l’enfant par une naturelle inclination à chercher le plaisir et à tourner ce qui le contrarie. C’est une simplicité que l’âge adulte excelle à compliquer. » Raoul Vaneigem Réaffirmant follement le désir de désirer un autre monde, de rêver, de poétiser et de vivre une vie authentique, voici ce livre qui, cheminant de Philippe Godard à Raoul Vaneigem, en compagnie de Paul Lafargue et de Pauline Wagner, chante la mélodie du vivant et le droit à l’amour. Trois chevaliers et une dame récusent la quête frénétique du travail, qui ravage aujourd’hui les esprits pour appeler la paresse à la rescousse. En 1880, Le Droit à la paresse ou La Réfutation du droit au travail de Paul Lafargue paraissait en feuilleton dans l’hebdomadaire L’Égalité ; incarcéré à la prison de Sainte-Pélagie en 1883, il ajoute quelques notes pour une prochaine réédition. -
Naked Lunch for Lawyers: William S. Burroughs on Capital Punishment
Batey: Naked LunchNAKED for Lawyers: LUNCH William FOR S. Burroughs LAWYERS: on Capital Punishme WILLIAM S. BURROUGHS ON CAPITAL PUNISHMENT, PORNOGRAPHY, THE DRUG TRADE, AND THE PREDATORY NATURE OF HUMAN INTERACTION t ROBERT BATEY* At eighty-two, William S. Burroughs has become a literary icon, "arguably the most influential American prose writer of the last 40 years,"' "the rebel spirit who has witch-doctored our culture and consciousness the most."2 In addition to literature, Burroughs' influence is discernible in contemporary music, art, filmmaking, and virtually any other endeavor that represents "what Newt Gingrich-a Burroughsian construct if ever there was one-likes to call the counterculture."3 Though Burroughs has produced a steady stream of books since the 1950's (including, most recently, a recollection of his dreams published in 1995 under the title My Education), Naked Lunch remains his masterpiece, a classic of twentieth century American fiction.4 Published in 1959' to t I would like to thank the students in my spring 1993 Law and Literature Seminar, to whom I assigned Naked Lunch, especially those who actually read it after I succumbed to fears of complaints and made the assignment optional. Their comments, as well as the ideas of Brian Bolton, a student in the spring 1994 seminar who chose Naked Lunch as the subject for his seminar paper, were particularly helpful in the gestation of this essay; I also benefited from the paper written on Naked Lunch by spring 1995 seminar student Christopher Dale. Gary Minda of Brooklyn Law School commented on an early draft of the essay, as did several Stetson University colleagues: John Cooper, Peter Lake, Terrill Poliman (now at Illinois), and Manuel Ramos (now at Tulane) of the College of Law, Michael Raymond of the English Department and Greg McCann of the School of Business Administration. -
The Revolution of Everyday Life
The Revolution of Everyday Life Raoul Vaneigem 1963–1965 Contents Dedication ............................................. 5 Introduction ............................................ 5 Part I. The Perspective of Power 7 Chapter 1. The Insignificant Signified .............................. 8 1 ................................................ 8 2 ................................................ 9 3 ................................................ 9 4 ................................................ 11 Impossible Participation or Power as the Sum of Constraints 12 Chapter 2. Humiliation ...................................... 12 1 ................................................ 12 2 ................................................ 14 3 ................................................ 16 4 ................................................ 17 Chapter 3. Isolation ........................................ 17 1 ................................................ 17 2 ................................................ 19 Chapter 4. Suffering ........................................ 20 2 ................................................ 22 3 ................................................ 23 4 ................................................ 24 Chapter 5. The Decline and Fall of Work ............................. 25 Chapter 6. Decompression and the Third Force ......................... 28 Impossible Communication or Power as Universal Mediation 32 Chapter 7. The Age of Happiness ................................. 32 1 ............................................... -
Essay by Doug Jones on Bill Griffiths' Poetry
DOUG JONES “I ain’t anyone but you”: On Bill Griffths Bill Griffiths was found dead in bed, aged 59, on September 13, 2007. He had discharged himself from hospital a few days earlier after argu- ing with his doctors. I knew Griffiths from about 1997 to around 2002, a period where I was trying to write a dissertation on his poetry. I spent a lot of time with him then, corresponding and talking to him at length, always keen and pushing to get him to tell me what his poems were about. Of course, he never did. Don’ t think I ever got to know him, really. All this seems a lifetime ago. I’ m now a family physician (a general practitioner in the UK) in a coastal town in England. I’ ve taken a few days off from the COVID calamity and have some time to review the three-volume collection of his work published by Reality Street a few years ago. Volume 1 covers the early years, Volume 2 the 80s, and Volume 3 the period from his move to Seaham, County Durham in northeast England until his death. Here I should attempt do his work some justice, and give an idea, for an American readership, of its worth. Working up to this, I reread much of his poetry, works I hadn’ t properly touched in fifteen years. Going through it again after all that time, I was gobsmacked by its beauty, complexity, and how it continued to burn through a compla- cent and sequestered English poetry scene. -
Agregue Y Devuelva, MAIL ART En Las Colección Del MIDE-CIANT/UCLM
AGREGUE Y DEVUELVA MAIL ART en las colecciones del MIDE-CIANT/UCLM © de los textos e ilustraciones: sus autores. © de la edición: Universidad de Castilla-La Mancha. Textos de: José Emilio Antón, Ibírico, Ana Navarrete Tudela, Sylvia Ramírez Monroy, César Reglero y Pere Sousa. Edita: Ediciones de la Universidad de Castilla-La Mancha, MIDE-CIANT y Fundación Antonio Pérez. Colección CALEIDOSCOPIO n.º 17. Serie Cuadernos del Media Art. Dir.: Ana Navarrete Tudela Equipo de documentación: Ana Alarcón Vieco, Roberto J. Alcalde López y Clara Rodrigo Rodríguez. Fotografías: Montserrat de Pablo Moya Corrección de textos: Antonio Fernández Vicente I.S.B.N.: 978-84-9044-421-4 (Edición impresa) I.S.B.N.: 978-84-9044-422-1 (Edición electrónica) Doi: http://doi.org/10.18239/caleidos_2021.17.00 D.L.: CU 11-2021 Esta editorial es miembro de la UNE, lo que garantiza la difusión y comercialización de sus publicaciones a nivel nacional e internacional. Diseño y maquetación: CIDI (UCLM) Impresión: Trisorgar Artes Gráficas Hecho en España (U.E.) – Made in Spain (E.U.) Esta obra se encuentra bajo una licencia internacional Creative Commons CC BY 4.0. Cualquier forma de reproducción, distribución, comunicación pública o transformación de esta obra no incluida en la licencia Creative Commons CC BY 4.0 solo puede ser realizada con la autorización expresa de los titulares, salvo excepción prevista por la ley. Puede Vd. acceder al texto completo de la licencia en este enlace: https://creativecommons.org/licenses/by/4.0/deed.es EXPOSICIONES: Comisariado: Patricia Aragón Martín, Ana Navarrete Tudela, Montserrat de Pablo Moya Coordinación: Ana Navarrete Tudela Ayudantes de coordinación: Adoración Saiz Cañas, Ana Alarcón Vieco, Ignacio Page Valero Dirección de montaje: MIDE-CIANT/UCLM, Fundación Antonio Pérez, ArteTinta Digitalización: Ana Alarcón Vieco, Patricia Aragón y Clara Rodrigo Rodríguez Montaje y transporte: ArteTinta Centros: Sala ACUA, Cuenca. -
Guy Debord and the Situationist International: Texts and Documents, Edited by Tom Mcdonough G D S I
G D S I OCTOBER BOOKS Rosalind E. Krauss, Annette Michelson, Yve-Alain Bois, Benjamin H. D. Buchloh, Hal Foster, Denis Hollier, and Mignon Nixon, editors Broodthaers, edited by Benjamin H. D. Buchloh AIDS: Cultural Analysis/Cultural Activism, edited by Douglas Crimp Aberrations, by Jurgis Baltrusˇaitis Against Architecture: The Writings of Georges Bataille, by Denis Hollier Painting as Model, by Yve-Alain Bois The Destruction of Tilted Arc: Documents, edited by Clara Weyergraf-Serra and Martha Buskirk The Woman in Question, edited by Parveen Adams and Elizabeth Cowie Techniques of the Observer: On Vision and Modernity in the Nineteenth Century, by Jonathan Crary The Subjectivity Effect in Western Literary Tradition: Essays toward the Release of Shakespeare’s Will, by Joel Fineman Looking Awry: An Introduction to Jacques Lacan through Popular Culture, by Slavoj Zˇizˇek Cinema, Censorship, and the State: The Writings of Nagisa Oshima, by Nagisa Oshima The Optical Unconscious, by Rosalind E. Krauss Gesture and Speech, by André Leroi-Gourhan Compulsive Beauty, by Hal Foster Continuous Project Altered Daily: The Writings of Robert Morris, by Robert Morris Read My Desire: Lacan against the Historicists, by Joan Copjec Fast Cars, Clean Bodies: Decolonization and the Reordering of French Culture, by Kristin Ross Kant after Duchamp, by Thierry de Duve The Duchamp Effect, edited by Martha Buskirk and Mignon Nixon The Return of the Real: The Avant-Garde at the End of the Century, by Hal Foster October: The Second Decade, 1986–1996, edited by Rosalind Krauss, Yve-Alain Bois, Benjamin H. D. Buchloh, Hal Foster, Denis Hollier, and Silvia Kolbowski Infinite Regress: Marcel Duchamp 1910–1941, by David Joselit Caravaggio’s Secrets, by Leo Bersani and Ulysse Dutoit Scenes in a Library: Reading the Photograph in the Book, 1843–1875, by Carol Armstrong Neo-Avantgarde and Culture Industry: Essays on European and American Art from 1955 to 1975, by Benjamin H. -
Raoul Vaneigem: “Humanity Dies So That an Economy in Which Mad Money Goes Round and Round Can Survive”1
The Elementary Roots of Raoul Vaneigem: “Humanity Dies So That An Economy in Which Mad Money Goes Round and Round Can Survive”1 What kind of environment did you grow up in? Did your childhood prepare the way for the rest of your journey? My childhood took place in Lessines, a small working-class town [in Belgium].2 The rock quarries defined the slums in which I lived, as opposed to the nice places, which were principally occupied by the bourgeoisie. At the time, class consciousness was, you might say, punctuated by the sirens that at specific times signaled the beginning and the end of work, pauses and accidents. My father, a railroad worker, regretted not being able to pursue university studies due to a lack of financial resources. He dreamed of a better fate for me, but not without warning me about those who became “traitors to their class” by climbing the social ladder. I owe to him the reservations that I had early on about the roles of the intellectual – guide, tribune, master thinker. The repugnance that is felt today concerning the deterioration of the so-called “elites” confirms the soundness of my reluctance. In La liberté enfin s’éveille au souffle de la vie,3 I show how and why the rulers are becoming increasingly stupid. Anyone who takes a step back from the harassment of media lies can easily verify the following: intellectual intelligence decreases with an increase in power, and sensible intelligence progresses in the presence of what is truly human. I have always accorded pride of place to the pleasures of knowledge, exploration, and the dissemination of acquired knowledge. -
Neoist Interruptus and the Collapse of Originality
Neoist Interruptus and the Collapse of Originality Stephen Perkins 2005 Presented at the Collage As Cultural Practice Conference, University of Iowa, March 26th, Iowa City Tracing the etymology of the word collage and its compound colle becomes a fascinating journey that branches out into a number of different directions all emanating from the act of gluing things together. After reading a number of definitions that detail such activities as sticking, gluing, pasting, adhering, and the utilization of substances such as gum (British), rubber cement (US) and fish glue, one comes upon another meaning of a rather different order. In France collage has a colloquial usage to describe having an affair, and colle more specifically means to live together or to shack up together.1 While I lay no great claims to any expertise in the area of linguistic history, I would suggest that this vernacular meaning of colle arises when living together would have generated far more excitement than the term, and the activity, generates today. And, while the dictionary definition of the word does not support the interpretation that I am going to suggest here, I would argue that its usage in its original context would have generated a very particular kind of frisson that would have been implicitly associated with the act of two people being collaged or glued together, in other words fucking, or to fuck, or simply fuck. What has this to do with a paper on collage as cultural intervention, you might ask? It’s simple really, well relatively. My subject is a late 20th century international avant-garde movement known as the Neoist Cultural Conspiracy (Neoism for short), which I would argue is the last of the historic avant-gardes of the 20th century. -
LITTLE REVIEWS of a Few Books of Poetry Published 1998-2002
LITTLE REVIEWS of a few books of poetry published 1998-2002 Brian Kim Stefans Introduction The “little reviews” that I have been posting to various listservs over the past three years have usually been first drafts -- or rather, “long” drafts -- of anonymous reviews that I wrote for pay for print publications. Usually, an editor would require that I write a 250-350 word review and I would hand in something much longer -- a burden on the editors, of course, and so I owe a great debt to them for permitting me to continue this practice, and also for permission to “republish” the reviews on my web site. My aims are fairly modest: to provide a readable introduction to new books of poetry that are most likely not going to get much attention elsewhere (these are usually “experimental” works but occasionally not), to offer an opinion here or there as to their quality as writing, and to create a sense of a “living culture” for these books to exist in -- all aims that make this type of writing much closer to journalism than anything that could be mistaken for theory, or even “Criticism” with a capital c. (My more ambitious, if occasionally more turgid, critical writing can be found on the misc. writing link above.) I’ve written, at this point, about 120 of these reviews, but many of them won’t appear on the site as I don’t think they’re worth revising, or the books that they dealt with don’t interest me any more. However, I plan to include little reviews which were never rough drafts for print publications and are exclusive to this site.