1.13.2007

"replication can thus be understood as a form of delay"

re: duchamp

meme replication? other theories of replication in poetry, a la Pierre Joris?
just dipping into Sarah Vap's American Spikenard, she uses sentence fragments as "brush strokes" to lay on an element or comment without fully articulating it -- it is an impressionistic effect

1.12.2007

Alexander Grothendieck

Martha Champion (seems WPA recording work):
Peyote Songs
SOME MOHAWK WORDS OF ACCULTURATION
Ceremonial songs of Tonawanda Seneca longhouse
Iroquois Women, Then and Now

from http://www.publicanthropology.org/Archive/Aa1966.htm

Martha Champion Randle was an anthropologist, classical scholar, and musicologist. She was born in 1910 in Las Angles and died in Ontario on July 3, 1965.

She received an Honors degree in Greek at the University of Wisconsin. Randle studied anthropology and linguistics from 1933 to 1935 at Columbia under Boas and Benedict; she was one of the first to study peyote music. Randle lived in France from 1935 until 1940, and her work on Fox peyote songs was published in transition. She was also “amanuensis” to James Joyce at this time.

Randle returned to the United States and received her Ph. D. from Columbia in 1946 and began her study of Iroquois women, which lasted for the next twelve years. She did her fieldwork in Ontario and taught anthropology at the University of Southern California and Las Angeles State College. In 1958 she completed her thesis on Juvenal and received an M.A. from Southern California. From then on Randle taught Latin in secondary schools in both Canada and America, while still pursuing interests in folklore, linguistics, ethnomusicology and Indian welfare.

Richard Slobodin had this to say about her “Martha Randle will be remembered by her friends for the remarkably wide range of her learning and interests – she was among other things an accomplished violinist and a former championship tennis player-- for her generosity to younger scholars in her fields of interest, and for her courage in the face of disheartening circumstance.”

Randle’s publications (dating from 1935-1953) include works on peyote songs and Shoshoni hand gaming songs, acculturation among the Mohawk, Iroquios women and folktales, and educational problems among the Canada’s Indians.

poem in objectivist number of POETRY; probably knew Zukofsky from Columbia. Could have known Neidecker from WPA work in Wisconsin?

1.11.2007

still reading 21st century modernism the "new" poetics together with against the day, the pynchon from the columbian exposition to the theory of relativity novel

perloff still interested -- from eliot through to duchamp, in the "impossible to bridge" gap between art and event, for example, eliot's difference between the nam who suffers and the man who creates, wittgensteins opacity of pain / internal emotional states (to language games) and here, the difference between intent and result (event?) being the "art"

Russell characterised the stuff of our initial states of perception as "events", a stance which is curiously akin to his old teacher Whitehead's process philosophy.

Process philosophy identifies metaphysical reality with change and dynamism. The majority of metaphysics since the time of Plato, on the other hand, usually posits a "timeless" metaphysical reality of substances, objects, or things,

guess what -- since this relates to whitehead's relativity, it toes into AGAINST THE DAY which I'm still doing

thus far, this has led to a way of seeing the draft of the inanna pem,"singularity", at the beginning of OOD as a series of topoi (as the oldest poem, it can only be that) and topologies, as well as a survey of language games (perhaps -- that may be for the computer language poem -- one of the other two unwritten), but also demanding a pass through the poems looking at this -- I feel artificial -- division between art and event

1.09.2007

Quine -- Word and Object -- fave philosopher of my theory of knowledge prof undergrad, but as far as set theory and formal logic, not linguistics -- more than one translation meets these criteria, and hence that no unique meaning can be assigned to words and sentences; synonym has no real reason

Tarski - model theory and indefinability -- arithmetical truth cannot be defined in arithmetic, [systemic] truth cannot be defined in [that system]
now there was somthing of a process-information "skid" in the last post here, and I took some things over to myspace, but here's a wiki quote

Information is the result of processing, manipulating and organizing data in a way that adds to the knowledge of the person receiving it.

so if information is the result of process, then certainly information is created by... processing information?

the concept of information is closely related to notions of constraint, communication, control, data, form, instruction, knowledge, meaning, mental stimulus, pattern, perception, and representation.

and/or, if message/comms is the material manifestation of information, then something like a poem -- a particular type of language game, like a list of "five red apples" and even more interesting things -- is also, it conveys information

1.08.2007

the second thing from reading the eliot chapter of the perloff boook is Wittgenstein's ideas of lack of information in a language game, ie., he writes that a poem does not play the game of giving information

thus I am trying to figure out -- because my hunch is that if some symbolic logicians are said to be creating and imparting information how could no poets be creating and imparting information? this obviously means I have to figure out Wittgenstein on information.

for example, proof is a language game, and proofs are in many ways very much lilke poems -- in fact, the end of the late 20th century free verse poem was very much like the conclusion of a proof

but we've long moved on from that anyway, even from the script, to the map as language game, as field for representing not information, but information processing (but in information processing, representing informaiton IS processing it)

Ah well, waiting for the water heater inspector before jury juty in traffic court (a dui, of course, of all the wasteful things to bring to a jury trial).
from reading the eliot section of the "new" poetics, there are two wittgenstein - thru - perloff observations I want to make: one is that the greatness - intensity - of the artistic process, the pressure fuses art (made) and event (making)

now, while I don't agree with the latter, the process fusing the art and the event, meaning that art is separable from its event, the first part of the proposition seems awfully close to my value of "excellence" -- that some art / poems have an intesity, excellence, ambition, or something -- part of the motivations of the maker, or inherent in the (thoughts behind the) procedure that separate them from other works

and that the poems in the books I'm winning, winners of a big annual prize, seem to be slack -- not "lacking tension" not "unambitious" not "casual" not "vague" (although they are vague, grammatically, syntactically) -- lacking in intensity and greater purpose

1.07.2007

one of the things that I think it may be important to begin talking about it that it is now possible, beause so many publications (at least that I have been reading) are early books by recent MFAs, and so many poets are teaching in MFA and PhD Creative Writing programs, to consider a variety of types of influence. For example, a poet who was taught Jorie Graham, a poet who was taught BY Jorie Graham, and a student who read (independently) and was influenced by Jorie Graham's form, subject matter, etc. etc. bear the markings of influence in entirely different ways, and talking about those ways seems to be to be important.

The other thing -- and I suppose this is tangentially related to some brief conversations I had with Kasey Mohammad about "sufficiency" in workshop writing, of "competent poems -- is that I read for some sort of "excellence" and that is a very tricky value, but it is one that is NOT found in the Iowans of the 60s and 70s, and it is not found in many recent MFA grads writing an occasionally interesting domestic surrealism with overtones of contraints of various sorts -- of course some flarfeurs are interested in "badness" -- but not here --
reading the books & awash in difficulty resuming writing after all then FAMILY has departed, mostly due to my problematic current project, THE QUILTS and the SILHOUETTES (they end up being about slavery (in black and white, but often in color elsewhere, a craft by both black and white women, but it is the poor black women's quilts which are "outsider art" and the white middle class women's which are "high textile craft" -- the source material for the first batch -- a simple nine square -- was two novels, one written by a southern woman and one written by a northern woman, ante-bellum romances), and what do I have to say about slavery and race relations? very little, I fear)

the silhouettes are silhouettes drawn on profiles of sports figures from the back of an old sports almanac -- I dedicated them to Kara Walker, because I did use some of hers (I also used others, from the timeperiod this book covers -- the late 19th century) -- but my concern is that of course the athletes profiled *aren't* all black, and the assumption I think is they are, and the racist assumption is *of course they are* african-americans, athletes, Walker, especially after THE QUILTS

an added concern is that the silhouette poems themselves aren't rich as I'd hoped -- they need an additional aspect to be really much better (they are about temporary fame, records / recording, measuring human successes, shadowy pursuits)

the quilts aren't really poems yet -- I think the collages (the piecing of the quilt) is very interesting, but then I realized that that is just piecing, and not quilting; I realized I must choose words to emphasize to "stitch them down" to quilt them; this isn't as hard as is thought but changes completely -- I think the easiest thing to do for print might be to do it backwards -- bold some words, then piece, because while I can get the words in bold aligned on top of the scan of the collage including the word, the spacing shifts

even still, in a few e-mails to Jessica about her publication (sounds like the original poets & potes) of four 4 x 4 poems, what is the poem? I had been playing then with using the words in a poem as a constraint, but THIS IS WHERE THE POEMS ARE ABOUT SLAVERY -- I can only expect the same fromthe Log Cabin quilt which is surely about Abraham Lincoln as the patterns are log cabin, courthouse steps, furrows...

so, I am casting about for something completely different to read, should I go back to MAXIMUS? I picked up Marginalien by Alan Halsey and boy does Thomas Pynchon's song and poesie (I am also reading Against the Day -- only three typos found thus far, in addition to the HUGE ERROR on the jacket conflating the WORLD'S FAIR with the COLUMBIAN EXPOSITION) resemble Halsey's. Picked up IOVIS vol 1 -- can't find vol. 2; since vol. 2 was a partial inspiration for my big project it seems to be sorted somewhere else -- have I mentioned we had company for several weeks? -- and the Marjorie Perloff book with new in scare quotes -- the "new" modernism -- now, if that's not postmodern, WHAT IS?