I’ll be in Ithaca performing a new piece for electronics and text titled Techniques for the Oddity. Hope to see you there!
On 2/22/2018 I spoke with students from John Reed's seminar at The New School about Hybrid Poetry. We discussed the difficulties unique to creating hybrid work and the innovations that can result from collaborating with and through different mediums. At the end of our conversation all 10 of us participated in a real time collaboration through Google Docs. The goal was to write a short collection of hybrid work in 15 minutes. No other constraints were established, so if you were inclined to, you could simply delete for the entire time. No one did, but the discussion afterward revealed that the event pushed each one of us to write, collage, and negotiate different mediums in fresh ways. In the poem you'll notice multiple languages, humor, memes, confessional lines, questions, word acrobatics, texts, tonal juxtapositions, and advertising images, all mingled in a communal sense of play.
The experience was stupendous and the results were so irreverent and fun! I've published the pages from the collaboration below. Enjoy!
At the 2017 NEMLA conference in Baltimore, Joe Hall, Jeff T. Johnson, and myself discussed overlaps in the socio-political state of Precarity and the aesthetics of online synchronous collaborative writing. The panel was very productive and generated as many questions as it did more complex considerations. In the spirit of keeping the conversation going, I have asked each panelist to provide a brief summary of their paper along with thoughts and questions that are guiding their further thinking about productive interminglings of precarious labor and creative risk in digital environments.
An exceptional feature of mobile, synchronous writing tools like Slack and Google Docs is how they relentlessly annotate the identity of the composer and time of composition. They automatically save and date drafts—recording document’s extension and revision down to the minute. These tools have a great capacity to index the role of each poet in each stage of production. My paper, in dialogue with Heriberto Yépez’s theories on the imperial maneuvers in regard to time inherent in American modernist poetry, allows us to see something strange about these tools, time, and scale. On one hand, they invite a form of authorship consisting of micro-compositions distributed in a few slender minutes across days, months, and years. They also provided the capacity to grasp texts from anytime or text reflecting on any time in the total archive the internet aspires to be and to feed portions of these texts into their fields. With these tools, the time of composition can be small and scattered; yet it can involve, the appropriation and remix of a massive volume and range of texts.
The Canyons tour ended its first phase in Iowa City at Performance Space one, hosted by John Éngelbrecht. It was a lovely night. The performance artist Jillian Weise screened pointedly political videos of her alter ego Tipsy Tullivan, and poet Raj Chakrapani read from a new work that blended poetry with voice-overs of prominent public figures. Matthew and I played a longer set than previous readings and we enjoyed plugging into PS1's sound system for two reasons. One, we didn't have to lug all our equipment in and out! Two, it was vastly superior! I'll post audio of this performance over the weekend so check back soon! We are in Providence toward the end of October, so if you're in the area we hope to see you. The rest of our tour schedule is available here.
Another amazing evening on the Canyons tour! After a few too many coffees Matthew and I landed in Chicago for our 3rd performance at the Experimental Sound Studio. Anne Shaw and Toby Altman hosted us at Absinthe and Zygote an innovative performance series that changes locations for each event, from dark rooms, to crowded elevators, to hair salons. In front of the welcoming pink baffle backdrop of the Experimental Sound Studio it was a night of multimedia projections, polyvocality, and hilarious characters. We opened our set with "Welcome to Colorado" and sonically constructed an environment in which the "pure products of America go crazy." Little did we know how well that would resonate with the other performers. Poet and playwright Kate Morris read next, projecting maplike watercolor images in the corner of the room. She was followed by Olivia Lilley, whose comparisons of dating life to The Lord of the Rings had everyone cracking up. Olivia Cronk's reading of Louise and Louise and Louise ended the evening, quickly switching through the voices of a slew of characters, inhabiting each deftly. We read in Iowa City on the 10th, and will pick up the tour again on October 22nd in Providence. Hope to see you there!
We just arrived home yesterday so audio of the tour will be posted soon!