Saturday, May 11, 2013
Wednesday, March 6, 2013
Saturday, May 5, 2012
Robert Grenier (RG) spoke at Columbia in March and I took some notes because I find his work and him to be completely fascinating. Thought others might want to see some of this too. [Note: my transcriptions of the poems are nothing like the poems and should be held very suspect. They are the (bad) map, and not the territory.]
RG has 170 books of these hand-written poems. Lately he has been thinking about ghosts - "ghosts presence as absence" - because of the deaths of Creeley, Scalapino, Bromige. He talked about his poem from Sentences: "gost." He says "One of my tasks is to bring the 'h' back into existence..."
Which is an allusion to the Creely poem that goes "here I am, there you are." (Look up). The "are" is the ghost here.
RG talks folks through the "making" of the poem, acts as an intermediary. The handwritten poem in the books is THE poem and his ideal reader would be the one who reads thru these.
AN A NO
ARD (AND) IGE
Works are made out of letters.
He reads some more:
He talks about writing the fact as it's happening in the letters themselves!!!
He says the poet only reaches the one who wants to read the poem.
(Hint to his "orthography": all the lines are underlined.)
This work is a form like a sonnet is a form.
“constructed artiface of the occasion” – letters in space
“lost in the enactment of the ‘line’” (meaning the line that makes up the letters)
An artist named John Bacchi (sic?) translates Grenier poems by drawing them out
“My deepest intention is that someone would read the 170 books…”
“I am the reader of the work as it is drawn.”
Sometimes people write to call it into being.
You can see the cloud and write it.
Some day I will be gone and I think someone will see that cloud.
“a potential occasion for another real experience”
Friday, April 8, 2011
“[Lucy] Lippard argues that the move toward the virtual disregards the importance of the local environment. She thus posits the local as anti-institutional and anticorporate stance. Artists should, she argues, ‘innovate not just for innovation’s sake, not just for style’s sake, nor to enhance their reputation or ego, but to bring a new degree of coherence and beauty to the lure of the local.” (39)
Hans Haacke : “Make something which experiences, reacts to its environment, changes, is nonstable…Make something sensitive to light and temperature changes, that is subject to air currents and depends in its functioning on the forces of gravity…Make something that lives in time and makes the spectator experience time…Articulate something natural.”(44-45)
Luce Irigaray: “Porosity, and its fullest responsiveness, can occur only within difference. A porosity that moves from the inside to the outside of the body. The most profound intimacy becomes a protective veil. Turns itself into an aura that preserves the nocturnal quality of the encounter, without masks.” (62)
Saturday, March 26, 2011
Tuesday, August 3, 2010
What is noema? It is a word that comes from the Greek, meaning “thought,” but later became a more technical term in the phenomenology of philosopher Edmund Husserl. It is also the title for a new journal founded by 2008 iLAB resident, choreographer and experiential geographer Karl Cronin for his Somatic Natural History Archive project. He gives his own gloss on Husserl’s noema as “the perceived object as a perceived object,” seeing noemas as kinds of encounters.
This past Spring, I received the first volume of noema, wrapped in a beautiful cover of sparrow silhouettes cut from striking wallpaper patterns (by Ann Lopatin Cantrell), and was blown away by the contents, which present still photos from a growing collection of Cronin’s “embodied portraits that depict the life histories of10,000 plants and animals.”
What is attractive about the project is its unbelievable ambition, the wild execution of these attempts of “kinetic empathy” with other species, and the links to other media. As an example of the last point, in noema you can see a still of Karl’s response to Yucca glauca (Yucca) but then you must visit his website and link to the film of the response - the films capture the dynamism of these encounters, where the photos can only hint at them.The journal and the overall project are wonderful, and if you are interested in the intersection of movement and natural history you should consider getting a subscription.* I am curious to see how the encounters will evolve over time, and more importantly if Karl will have the stamina to fulfill its five-figure ambition. I really hope so. I feel this work will be very generative for other artists. I know it has made me want to go meditate on a species and try to create some poetic empathy, although maybe just for 10 species.
*Annual subscriptions of noema are available for $20. To subscribe, contact Karl here.