Sunday, June 29, 2014

Second Hand Sleep

Narcotic and austere‎
‎Vegetating in a desert island
I see thru clouds
Canals where commercial flotillas live

Life in order that there be poetry
Rendered uneasy in satisfactions
Her imagination
Salvation and justice
The study of hero worship
Petty artisanal duplicity
Men of the workshop
Will overflow or expel
The machine in which caresses
Hold true for future royalty

A universe can imitate the end
Horse races and prestidigitation
Peasants and autodidacts
Companions who died in childbirth
Violent memory
Facing north
Cut shapes to west
Eye where no sun
Center and field
Danced apart

He is an angel‎
A maiden for everyone
Anatomy woven at the loom‎
It was arranged
Vision of half-way house
Rhymes with
My counter-charm prevents
The sport (ecstatic Alps‎)
The sporting‎ life as ant or worm

I could not identify
Blue flower
I could not identify
Hairy madmen
Pictograph of doubled image
Creature of wish
Of the spring
In seance
Robin Hood burning up
Incandescent master
Dressed in newspaper
The unluckiest virgin
Gleaned and annealed

Drink to me assigns‎
‎Gunfire poem
Crumpled horn
Icy finger under siege
Murder won't do
I am 43
Sailing on a lift, angry
Running lost in fragments
Broke-back and dumb
Beautiful tears have blossomed
Orange libraries
In the muscles of men

Saturday, June 21, 2014

No World No Time

You may need to know Schumpeter (aka “the poet of neoliberals” (Mudede)) is the guy who came up with the economic idea of creative destruction. He read Marx closely but swallowed the idea of Nietzschean heroics. He celebrates original entrepreneurial moments & he’s more than ok with the resulting ecological waste, i.e., collateral damage is no concern.

Hello said the telephone (hi!)
Poet of the crowd
Common inscription
Loved and lost

‎Ok cupid
thought does not collapse
Enemies of innovation
discard the now!
Bookmark time

Let Bartleby
Let our Schumpeterian waste baskets‎
Attrition molecule
for conjugal verb
Let each refusal
Keep a tab open
The female thing
positively cash poor
His cudgel thinking
Erasure's stet (gums my work)
My patent portfolio
Imagines history
Dreams prior art
To betray
Actionable extract
held back in the year of revolt
Revived in 1898
Word on word
kickboxing horrorshow
Dance music modulation

Wednesday, May 28, 2014

In which La Nature rejects its correlates (after Baudelaire's Correspondances)

‎   “Self-revelation is annihilation of self”

Lana Turner's living
Still life of words
(see baud rate, see disambiguation)
You lost me at Shirley
Temple's temple
Mounts of words
Crossed forests
Crossed out
Intimate symbol
Of sweets
Of the stink
Of subjects she sing‎s‎

No man's mottled nose
No oboe
to judge
to Cleave amber

Nature is never adequate
to the revolting dead
Hardwood doubled
Green screened‎
Vibrant bullet
as if subjects exist

Not knowing it's dead
La fabrique du pre
Works day and night
Green light ‎for white flight
As it reproduces itself
Say what?‎
Delete stink of flesh
Deep aura
‎Echo as ecstacy
‘Heads up!’
No cognate‎ released‎
No sense of singing
Vampire blood on lip
No scent of infinite thing
Gasping abreast

Saturday, May 3, 2014

Verse Don't Care

-- Ladies and Gentlemen: Donato Mancini (after Eva Tanguay)

Punch lines in long stanzas
Verse don't care

One poem allegory
Verse don't care

To embrace discomfort
Duel sequent emotion
This is your life
Verse don't care

Sunday, April 20, 2014

Materialist Lyric Mode

The vital question is how to articulate the totalizing impulse of critique – which I’d argue is still as important as ever, in the face of capitalism’s own totalizing force – with a poiesis necessarily fixated on the smallest point of ingress to the materiality of everyday life, or to put it differently, the smallest unit of affect or event in its difference from a reified situation. Art small-a. I’d be willing to bet that a materialist lyric mode is the closest thing to an avant-garde we currently possess. It’s no longer very interesting to say: “Look, I’ve divested myself of my subjectivity, I’ve laid bare the mechanism through critical mimesis, I’ve taught the petrified social forms to dance by singing them their own song.” Better for artists to ask: “How can I make something that speaks to my experience in all its fucked-upness and seeming inevitability; how can I produce anything at all without immediately reproducing capital; what representational or anti-representational claims can I make with regard to my own place in the violent hierarchy of class society?” But this is a kind of lyric that opens onto epic to the extent it necessarily folds totalization back into subjectivity, or history into experience.

-Daniel Spaulding.

Tuesday, April 15, 2014

Queer Silence/Noise

Next AU reading includes Jonathan Katz's essay on John Cage's Queer Silence or How to Avoid Making Matters Worse - which raises questions about modes of resistance, and intersects with Robin James thinking about how we might resist being co-opted by the regime of neoliberalism.  

Robin James"The point is to make signals that, when co-opted, skew the balance and bend the circuit- sort of like retroviruses and malware. Critical delinquency generates noise that isn't noisy in the "right" ways (and thus might not even register as noise), queer noise that, when it gets co-opted, distorts the processes it is supposed to support."  

Cage via Katz: 
"Protest movements could quite easily, and despite themselves, lead in the opposite direction, to a reinforcement of law and order.... protest is all too often absorbed into the flow of power, because it limits itself to reaching for the same old mechanisms of power, which is the worst way to challenge authority!"  

"The goal is thus not to challenge power, but to escape it.... what makes noise a noise is precisely its freedom from an preordained conceptual or ideological system. Thus music permeates culture, and our culture permeates music; change one and you change the other."  

Katz's essay on Cage also suggests a tangent on Buddhism, which seems to lead toward Zizek's (somewhat controversial) critique of Buddhism. 

eg, Tim Morton"I am nauseated by [Zizek's] repetition of asinine Hegelianisms about buddhism.  [But] I generally admire and respect what Zizek has to say about anything. [And] I actually agree, from a certain point of view, with what he says about buddhism: for example, as an indictment of western New Age interpretations that are also intrinsic to certain eastern forms of buddhism.  I nevertheless completely disagree with the substance of his arguments which are based on a common Hegelian misunderstanding of the soteriological aims of  buddhism."

All of this is perhaps unrelated to Jody Rosen's spectacular essay on Eva Tanguay, the first rock star. Thinking of Attali's Noise, Tanguay is perhaps an example of music as a herald of social change.