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