If you look closely, there’s a self portrait in the cover, taken in the archives of the Experimental Television Center exhibition at Cornell a few months back.
Kelly & I participated in the Syracuse Super 8 Film Festival again this year, and our films are now viewable online. This year we did two films, due to camera malfunction. One’s in color, one b&w. The soundtracks come for This One comes from YouTubes of people narrating their collections of things, and the soundtrack to All These comes from the Psychology Today Record Series LP on memory & problem solving.
Here are some production stills from the shoot (in our kitchen):
I’m thrilled to have been invited to visit Wheaton College to discuss reading, writing, and technology in a TechPaths Lecture next week. I’m also very excited to be visiting a creative writing class while I’m there– we’re going to do some Really System-style treatments of the texts they’re working on.
In honor of the visit, here’s a visualization of the text of Really System Issues 1-5 I created using the Lexos integrated Lexomics workflow tool developed at Wheaton by faculty and undergraduates. I’m hoping I get to talk to some of those involved while I’m there. This image totally reminds me of the cover to Love’s Forever Changes LP, which I love to be reminded of. Listen below.
One of my favorite poems that I’ve written in the last year or so, “Cinepak,” was posted today at Hot Metal Bridge. I’m so glad it found a good home.
In their note, the editors mention the litany of “Let’s’s” in the belly of the poem, which is the part I always enjoy most reading out loud to an audience. Cinepak is a video codec from the early 90s, and the poem is a reflection on compression, time, and the shifting spaces between things.
I am very pleased to have three poems up at the Collapsar.
One of them, MANY PARTS FALL INTO BACKYARDS, mentions a video I once posted here (Former Bass Destroyed, 1/29/2009), of artist Christoph Draeger and friends reenacting the Who’s performance at the Monterrey Pop Festival at the Lyon Museum of Contemporary art in 2007. He didn’t tell me he was going to smash it when I sold it to him, but I probably would have given him a discount if he had. Here it is again:
That poem also references the 1960 plane crash in my old neighborhood of Park Slope, Brooklyn, about which Christoph had created artwork in his series of jigsaw puzzles of disasters.
The contemporary NYT stories about the crash are horrifying, and the title of the poem comes from one of the slightly lighter headlines from that week: “S.I. HOMES SPARED BY FALLING DEBRIS: Parts of Airliner Land in Backyards — No One on Ground Is Injured MANY PARTS FALL INTO BACKYARDS Fuselage Hits 100 Yards From Woman Running With Her Infant. ” The crash occurred because two planes collided over Staten Island, but most of the United plane fell in Brooklyn.
The Times followed up on the story a few years back, and you can read a bit of that coverage here.