PWAPWA

4:30-6:15
South Court West 2nd Floor F187. Writers and Politics. (Lucina Kathmann, Kelley Alexander, Heriberto Yépez, Joshua Clover, Brent Cunningham) Nick Flynn

Lucina Kathmann
freedom to write tomorrow the poetry of the heart the conference born and moved internationally the largest worldwide organization throughout all the continents and situations which starts us out non-political partisan issues and freedom jealously criticized with respect to its policies and the large social issues and history. in 1921 personal friendships among writers from different land created a personal vision of stirrings and a world congress of absence, noteworthy because of the press which helped with the situation in every congress and prison. many cases that have a gender element are burning and may be experienced in these cases of infringement and a special role in the family, focusing on the internal workings during the years of existence, hand in hand with countries and places of both genders, two volumes of distribution are all our cases today, a series of meetings at the very early stage in the meetings a gentle little lady in our midst, wonderful for photos but nobody's sure what to do with her, bit by bit anything began congresses a charming newspaper, advice columnist, two little stone elements and hubris, right behind bits of paper and phrases tooke the place of teh chronicler of history, working on the idea of a dream finally in July discharged as indeterminate and unbelievable messages and nothing but tears, this is the power of the dream, honestly a good idea never once suspected and floating about in the air with faith at work vexed by abuse and pointing out very sad systems with a lot of questions among the rural poor too far from home part of a criminal underclass in a cathedral of lament, a carpet of light crushing memories in the night, plunging into the ocean of fires on the banks of dawn, the desert buried hope dressed in misery with the fire of the midday sun far away when the shadows of night disappear and we live together in the future snuffing out all the tomorrows

Heriberto Yépez
off the page using walls in the night, part of the walls in the neighborhood on the periphery of the city of public transportation, starting to become visual at the time considering a society at its initial point of question and point of resistance continuing the tradition on the city physically continuing the verbal public using the border in an illegal way with political humor that nobody was understanding in english, which has become very important as an exploration of language obviously leftist mexican marxist anti-gringo, critical of imperialism at the point where we really get to something, the real deeper meaning of the US, not as a country but as thought control, how we control centers of others and how we leave others controlled by centers, the meaning of what's happening. what are the united states and why are there so many of them. all critique is a projection onto life built upon a secret invisible individual realization of objects and subjects, there's a deeper reality in deep trouble, emotions and how we avoid them, how we become naive so we can avoid responsibility and blame others

Nick Flynn
in the course of political things one comes to structure and short ramblings and quotes of evil built into our whole adversary in ourselves in that what allows systems to take place and pointing a finger at a place for that this morning as a conversation not a manifesto or anthology among things all these discussions intimately conversing as one side of a story becomes dominant another becomes silent, something about torture very raggedy and rant like, satisfying but un congealed as part of the world, provocative and unformed around these photographs and the military commissions act - once you put a thought out there it returns as appearance around the beginning like a lot of things an enormous crisis and an award as an organization and these lectures on torture from the aclu along with lawyers and ex-prisoners along with an artist with ten copper plates and depositions written around what they say written backwards weaving all these things together more effectively than taking a stance

Joshua Clover [had to leave before the panel ended]
witty comments on previous speakers, the grand political problem of the moment is the problem otherwise it could dissolve from the page speaking freely to scoff at poets talking about politics preaching to the converted dispensing with the first rather swiftly as whether

AWPAWP

Saturday
12:00-1:15
Walton 2nd Floor F153. Teaching Innovation: Experiments in the Poetry Workshop. (Rachel Zucker, Steve Gehrke, Brian Teare, Brian Clements, Jena Osman, Elisabeth Frost)

Brian Clements
undergraduates contemporary poetry, post projective worn on its sleeve of symbols experimental resistance difficult is the question more new and applicable normally and frequently little more than new to replace the old a spoonful of sugar and a dose of medicine sold innovative and fun, isn't that fun, great fun, go wild - the whole apparatus local reading as you all know not to read but to apply close deductions and ability for children brown squirrels and dull rhymes - short plays written by the living down to New York City over an extended period to find out what they really meant to the uninitiated overcoming experimentation and reeducation in the fear of the new valuable and specific and researched the mere belief increases the potential for learning and cognition as a model that evolves through examples and entities to play with the idea who may be familiar with exposure and possibility furthermore modes desire to discover found newspapers lit up like heaven like permissions for themselves in collaboration in exploration and composition and animation and performance and dialogue in the flash project more on its own than anything simply history do it merely as an exercise invested and immersed breathing life easily seen ongoing issues following frequent vitality and humor recognized in a cinema spurred on by a combination of live places where nothing exists identifying as an agent and taking cues from lessons unprovided

Rachel Zucker
in experience two beliefs are prominent one familiar expression because it is personal and powerful and it all belongs to a piece of property of an expression with no rules compared to unconventions in a free zone impeding growth and openness through rule-breaking romantic self expression feeling unaccountable in essence and feeling the fact of misplacement is a voice of the flip side for a very long time without reading factors returning to a model a new model that went fairly well, here we go luminous details explain how a sense of the material world engages something outside the feelings, functioning from authoritarianism and brevity removed oneself from the "I" with clinical observation see hear and pput into language without affect starting from ideas but no abstraction is allowed in the beginning and no metaphor-absurd not engaging literally, some of the objective composition is prose in the final step, addressed as material objects like code-switching a linquistic concept theorized at length in registers emblematic as marginalized groups in relation to both the dominent and codes of bi- tri- palates, the phenomenon of a very complex phenomenon to introduce diction and self-expression of something quite different trained as specilized language in a series of 30s and 40s gangsterism making its way into parlance fuzzy a combination of the line and the reader acctivated to consider the context in an example of practice pretty rigorous kicking text and questions and phrases included within any given captured richness of texture and positionality formally leaping from translation in clear relation so that there are little errors involving different languages and authority even more in a sense is all kinds of visual forms facing it by examples made of models.

Steve Gehrke
the shift away from theory responding to context breaking down useless meaning and craft, types of speaking beginning from incorporation based on three assumptions, stronger readers and new dominance a virtual monopoly process of commitment sharpening connotations and rhythms avoiding use read for stylistic truth relating to consequence an extension of editors devices and elements of useful things efficient specific proscriptive and vague by participation and allegiance, reaching ridiculous heights of ignorance prevailing over two strategies of history and concern a rubric based around preferences and responses at its worst it sounds right but feels off as a preference for biography a demanding personal opposition a quick fix of larger implications interacting with meaning and bizarre lenses demonstrating interpretation and inflection a more flexible assumption including programs of notion different from the final assumption, always focused on help, on a piece of imagination and service grafted onto haunting assumptions mysterious and mystical but tangible as invention triggering devices and tricks as a lack of information and two valuable processes by reading in a context and community of speech utterances proceeding from the first disturbance encouraged to collaborate with a cursory study, authentic voice and image united with recent philosophy alternating between questions and aristotle, ordinary language asserted from concepts and contradictions with a heightened sense of meaning constructing formulations of aristotle asserting that this can be.

Jena Osman
activate the reader as co producer - here are three things, books, processes on the alert and construction, not the complete thing but the people - the second thing is the text constituting the neutral observer and consumer interpreting the world - the last is a truism understood as potential not a consumer contentiously sharing the work, which has been around for a very long time - put into practice this is concrete, based on a desire to create an experience that isn't an experience, but a memory of passion and pleasure in the first place, specimens of a manditory artful commentator never really engaged with the dynamic - language and thinking is an idea of activity of choice to know the inside out getting your hands dirty with language and students taken step by step, guided with a quote from a book community - what advice needs is an audience of advice givers, the presence of a fish disagreeing with weak fixes and a number of prompts that are pretty useful, pointing to the mind resonating with a form of speech, the second reply is at hand between each dialogue and letter is the third really useful movie of the mind coming into contact with the hand, something you can't access or don't get something impenetrable that you can see in response to paper, technniques are suggestions of belief by knowing what not to believe and then work with methods and all these here will change with the countdown of transformation, why is this useful? something coheres in clarity like an awakening engrossed with significance and the subject object positions - a step away from the return and a number of other translations that skip down to a really important thing - an interpretive decision of note - explaining choice and discussion with three responses and just talking work and elements of linking and happenings and traditional lines that matter and connect and then finish things up - a piece of an excerpt of a section of a serial also intensity beyond a title like a lion marionette and elsewhere between rain and persons implying a finger of flame a created replacement of a section the light of a field the role of contrast and resolution an explanation tied up with mechanical knowledge and wedgie looking things rotating in counter clockwise directions a general theme of machinery

WAPPAW

9:00-10:15
Ballroom D 2nd Floor F105. Post-Avant: Strategies of Excess. (Jed Rasula, Johannes Goransson, Anne Boyer, K. Silem Mohammad, Joshua Corey, Lara Glenum)

Lara Glenum
hideous countours of rejective norms decaying desires the grotesque multiply hazards of capacity conversely unhinged from a register of props of wastrels permeable and fictive split individuals collected disobedience and mainstream art exits culture throught the revolving door passed through as if by organs unnavigable proceedings tactics are literal, monstrous heterosexual male desire with masks of second bodies and bloody deer projected onto representation as horror and as subject insisting on our enjoyment - naive, deformed and averted indeed. a continuation of the beautiful, excessive and unbearable

Johannes Goransson
resistant talk peculiar as a dynamic and possible in the 10's and 20's misinterpreted as negative almost always the same breath of cliche as quotes by Donald Revell without recourse to prepared work extravagant admiration in aims of linguistic hope absorbed by perception to become like a dead stuffed goose common icons of talk much like everybody interesting that is unexcessive natural real true not excessive in-excessive monoglossia purpose creating natural firm stable unified correct intermingling fluency in the center of the center, get rid of all this other stuff, for the high language, and the way its talked about, stylistically imprisoned in the dungeon messages of exchange, still purchase resistance shock and outrage fit and functional perception an aesthetics of homelessness exile modernist excrement forced from estranged language through cabaret shows and genre rules and fantastic prayers Henry Parland how dada came to sweden as a threat of foreigners nevertheless the tone is nonsense enticement critique of capatilist receptions fairly extravagant - none of this stuff - not poetry - just nihilism and erasure always getting beyond visual words oral and unnatural the dynamic of receptions, right? similar to back in the day being implicated and appealed

K. Silem Mohammad
Personism is close to a manifesto as an offshoot in the european fund sounding tlike the squishy bender, now come on, I don't believe in god - I hate spoiled airlines and the irony of my current situation, fossils were put in the earth to fool sinners, backwards and simple, call the house, seriously, chasing is like death to be chased screaming deeds and the same with music outside as for the reception welcoming the committee in love running away with wrestlers and captain planet just let all the shittiness of highschool go on a train, buy a toy for investment, because mommy says so, my scanner is a pig of nerdy dreamwomen silly frizzy haired girls, now he's a potato, I finally broke down and bought one, dope ass friends, deep shit inside me, the midget arrives, the top ten album and improved by fruit leather, why ask zombies like walking flesh, too many poets and poetry clubs, from the elbow up with red painted lips, I don't give a damn, about neo-fascist organizations, slaughtered byt hte rebels and forced feeding, nobody should experience anything, only humans have a point of view that's the logic, there's nothing metaphysical about all the manifestations of shadows, abstraction in poetry is a step above the true meaning, simplified and isolated, there removal is the decision of whether or not to go indoors, all part of the multitudes capturing a picture of jesus verging on techno-pepsi philosophy - long streams of philosophy - no money and nice bridges - farmers ar far from it on the outskirts - spilling coffee on books and beauty, tied to a cactus in resignation - unemployed and happy - guilty, duh, the poem in the sound hole in perspective in the world under terrible pressure at last to the max remarkable need for taste and the spectrum as a human endeavor alive or dead, when you are a bum, dying of the age of 26, everything, everything, but what a fantasy, unsure until magic is undone and uncertain, it is a kind of weird story, nicotinism, propagandists and content

Anne Boyer
too many poems on December 16th through scarcity become ridiculous until death, with therefor difficult but not impossible thoughts of poetry beyond the realm of the much too complicated, the more difficult the difficult, not for action, nothing at all, share with others and essential methods with expensive overhead and diaramas of techniques without enough shoeboxes, breed a race of small rodents, with letter shapes inked and grown and harvested, the supplies you need are land, manuals, celebrities and paper screens. fashion a variety of roofs on tall buildings emerging from slates every fiftieth sheet of the right time with guns and metal and people and something tall like defense, collect five black cats, a large group of children with jars in their hands, then cookies with tatoos on them, when the cats wake the poems will glow, intelligence is to toy with affection and random patters, until they are willing to do anything, secretly laboring finally midsummer driving to the field stripped down as poetry, knowing it won't work, take a cargo ship to sea, set it on fire, you need capabilities, cause squirrels to swallow, finally join a terrorist cell and blow up flows to sculpt the united states, not as simple os one might think, advised not to speak of infecting pores, this idea has enemie and people don't like to hear about thick black permanent markers groaning outwards, limited to leakages and bodily fluids I am experiencing increased dismay at remediation between the crowd and the wound, difficult as you wish, in non action rewritten the rewrite refusing to be poetry as a beggar begging for attention of imposibility never occuring, the pose in its blatant form, among the masters non acting non innovating in nameless ness forever incomplete a thick blur not remembered

Jed Rasula
a dire thud adroit and experienced as an examiner of the thesis on the medieval ceremony - in regalia - in the role officially as the opponent the supervisor in case of mayhem to top it all off, this fabulous dinner that goes on all through the night, quite beautiful, as they are upon us, what follows as the reflections coordinated from Blanchot's indelible ruin, nothing to do with the parade grounds dismissing missions of failure without regard, heedless and goes so far to disappointment, a ripping apart that seems to say to us transgressions in the absence frozen into the principle of meaning squeezed out as a preciptate strategy haplessly submitted to as law as getting into trouble can you mean? can you be seized by intention suddenly? as the old song has it, a skeptical hoop rolling under the menace, the refrain, tacit and recalled as parts, from the stars indebted of course to today and the dice trow, a retinue, what now seems hapless and deranged and designed and desired and the death sentence is to engage with the clutch of the astral of the reference to actual events fastened to the absolute a date in history, the force outside historicallly so, who is not incuded? memorable of course but a bit different progress and categorically excluded without history, two volumes of why? without history, subjugated and placed, behooved towards the wretched dawn, one clue to thinking slaps provocations of tense, what a disaster this paradigm it will have been monstrous, contaminated from the past to the future smuggled in as inevitability, if you listen you will learn not to speak in the silence, the everyday life gets by by definition, the weather and all those little nudges, the utopia of kitsch, the horror, the scrutiny misguided by way of leaves and resistance bbetween reality and your life as abasement and substitution in public affairs indistinguishable by simply existing, now an occasion is the looming prospect alltogether, an inconvenient truth discernable and us, how can a conundrum fit into history into reality and the report of magnification ruined, one of the ways cmpletely marginal and as historical testimony - like a flea bitten rodeo contestant - my first computer - the new biological arrangement - generated by electricity and spittle - palpably bouncing - largely borne along by preemptive contras in nicaragua and the czarist opulence percolating the other side of the filtration pumps in nervous music in the intersubjective fieldwork of chastity belts, the heat loss, the appearance, the home court advantage, the missing link, the baloon, the ideology, the challenge and a popper and unity and bread which is his or hers swelling and genetic for the purposes of life, and fertility drugs of a deeper space delivering the next of talking style in the now you know. elected and available for sacrifice as stardom and the canon idolatry singled out for the cost and crucified in the name of a general cleansing, it could be anyone, singled out and generic and automatic, the tatters squished into view as rapt compliance parables - 3 poems as questions and why were we not a conflagration because separate static concepts nevertheless the world around us - as a reponse precisely here the reverse of cosmic attitude inside us.

At AWP

Some notes from the two panels I managed to get to... [damn my spelling is bad-oh you'll see what I mean]

12:00-1:15
North Court East 2nd Floor R147. Poets on Appropriative Writing. (Laura Mullen, Mairead Byrne, Shin Yu Pai, Gregory Betts, Camille Martin)

[I didn't start taking notes until after Laura Mullen finished her presentation, she was looking closely at some things Wordsworth had to say about appropriation - and then I had to leave after Shin Yu Pai]

Mairead Byrne
inserting a word or two to change almost suicide bomber almost raid in twenty two pool roof collapse shopping mall fire almost soldier almost dies wounded almost killed almost kills security bomb nearly six hundred call for calm more than attacks almost failed anti-march tiny orgasm pops sex since 1993 seek privacy finger slips into intimacy zone it's not surprising the techniques and strategies problematizing early models heroes using the I sometimes constructed accustomed even to the words definitive and appropriate protected sources.

inserted groceries into voices to tone arrived in writing appropriate unappropriated generic types found rather then plucked and luck is a repository a type of work who like hard graft like translation and three impulses one form two loss three desire a flat top in personality out of definition and a journal in a way preoccupied excised from the holocaust this obliteration of step in step outcome I'm sure more than also a voice or voices or a compendium impersonal to write most personally for as I say vocal cords and throat and tongue laid against any material its own reality to put facts. out of print still accessible than the records drawn a step above silence.

Shin Yu Pai
focal point practice energy and identity projects working unnecessary roughness a series replay source manuals vintage explained penalties and infractions lifted coexisted and dressed in uncomfortable positions not fully engaged and alternative strategies intrigued insubordination hooker the wet area suggested sexuality and violence unnecessary exploration sexualizing sexuality associated with adolescence picking up girls heavy lifting bow and daggers behind the bleachers perky leading the pom poms hurky hurdler chrome the anti girly man breakfast of champions playing with fields and strategic diagrams and hugs and kisses drawn on the fields particularly and movable courts integrated into visual rounds a track as a backdrop and clusters of punishment for breaking and passing crushing even up to that point concerns and issues and realized to give voice to the consequences after finishing nutritional feed raised on fast food and frozen dinner hi and lo in the production of logos colorblind optometrist assistance to reflect administered and tested standing at dusk on the silver hill treat it all the same right on schedule failed an impossible test drops pivotal focal disorientation multiple spectrums until the only paradoxes thriving in LA survive without english and food throwback to specialty staples that are normative another layer an outward image survival tactic to be at home and adaptation picking up imported cultural production keeping up appearances regularly quote piety invent reinvent hi and lo from both the east and the west discarded. re exploring alternative rigorous interrogation and examination of personal history source material. investigate memory and take and assimalate misspell cryptic paintings how different kool-aid everyday artificial masquerading and emanating years later as fashionable in the late 80s Jesus in 1927 recognized symbols Icon brainboxed phantom pain water artificial orange omitted alternative uses oh yeah other things eaten pickled and fermented anomolies in advertising slogans and catchphrases of the era the turtle and the ladder starfuck king of all the sea new york voice sorry fools were not fooled you're going to rot out of your head statistics intolerant does it good the pyramid of agriculture hooded from farmers grow intolerant of magnesia with no educational purpose heads up. no more questions follow directions elimination social rules duck and cover split between oppositional master ham a human document collaged and showing through with character in the original text in response but it would never come with direct experience abandon the idea artists village museum reading every day a final missive to loved ones what happened to dreams, failure recovery but not defeat in self pity


North Court East 2nd Floor R166. Poetry Meant to be Seen. (Joshua Beckman, Nick Carbo, Denise Duhamel, Stephanie Strickland, Jeanne Marie Beaumont)

Stephanie Strickland
bring light and hold it figuring to stylize the evolution of notation turning - a digital poem not meant to be seen forgetting the name of the image capture technology reads the water in mathematical patterns persisting through change mapped to motion as if eyes brought it along this is a little slower than usual and time a slipping glimpse regenerative random place mapped by the motion and size the breath of the program shrinking smoothly one at a time and the rate of change rotated clockwise either or counter a slip in visual fabric a sheet in blue clothing a possible view at varying speeds simultaneous in concert with the un human in reverse reading or reading yorself or reading the water reading movement versus static viewer and holy graphic decipherment to reading the poems words in debted to the concepts of threeness sense and tools to sequencing relate closely with non-human algorithmic devices

Denise Duhamel
seperate things and class and vignettes and creative soul some sort one of the things that come together in the year traced back to specificity this talk remembered on the fourth of july un recalled and the shape of the whole thing on the first page a baloon and the building so excited soon after we don't know how to type so un fashionable flash forward twenty five years later callaging it all together why do they end? why do they begin start anywhere or read and put it down - this primitive paper version of the loop sculptural strip of any length a working stiff cylinder the poetry machine makes the loop suggests also the loop the pinwheel the sestina twirled and royal only one line long about the line that draws the line along close with measurements of handwriting filling up space help languages thrown away in frames inspirational forever penny a piece all to fit all to fit exactly this one missing found a million dollars about money a trope printed back on to the bill fairly small this summer just to fit in the window open and blind appropriate materials nightmarish and continuish where the end is

Jeanne Marie Beaumont
a film takes a while to see can I put it down? show and tell? unbound how can this break free from the audience and come in to play with affection and the bindings carried under our brains the thin strikingly attractive and often brilliant as objects bound and gagged on a shadowed self these seen unconsciously the tyranny in a certain way physically restricts traditional forms and accordians in twelve parts opuscule folds out all around in the first seed itself at the end remove from pocket and plant to be planted and then one way out of the expanded spine a short step from the unfolding there's no end to the fan thinking about motion as makers invented and crossed buried lives decades of innovation and design bound into boxes of banners andn objects in a brief history of a century a fertile conjunction of catalogs, such fun and creative from the clouds masks are worn majorly without time thrown together wonderful in the background adapted and happened in the contract short and looking at the process of symbiosis around the age and the signs seemed right screened by a dozen citations although the script is the response to the scripted body through itself and others just a few minutes of response a little flimsy the reasons the door opens are you missing?

Nick Carbo - films

Joshua Beckmann
Three things similar three things different thinking about the recent intimate cut out of very tiny excitement there's no acceptable way to show it from a podium or to more than one person at a time and all the difficulties and troubles and running around go downstairs for comfortable homes find comfortable homes existing in different forms once they get there wherre exactly harderr to find for an audience as far connected as a wave recently erased with this thinking and facsimiles of the role made of the particulars and how we imagine her in the world in resistance to the world the engagement can be found on an entire sheet of paper presented out there another space to look inward occupying structural spacial wants to occupy not even about and leant in the marginalia in reading and letters and attention describing says some little marks seem like silence and sibilance too beautiful into the actuality the kind of attention a sort of history of thinking about it the ancient troubadors more so about their look and recordings memory of presentation in tradition part of the step beyond carved in stone contant and overarching the connection what feels recognized in tradition and what we see