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Showing posts with label <b>vispo</b>. <a href="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/">Show all posts</a>
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<div class='status-msg-hidden'>Showing posts with label <b>vispo</b>. <a href="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/">Show all posts</a></div>
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<h2 class='date-header'><span>Thursday, August 21, 2014</span></h2>

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<br />
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<a href="http://www.satukaikkonen.fi/"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Kaikkonen</span></a><br />
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<br style="mso-special-character: line-break;" />
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&amp; miron tee eter Lop ers</span></a></span></i></b></div>
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feature in <i style="mso-bidi-font-style: normal;"><a href="http://peepshowpoetry.blogspot.com/2011/02/blog-post_548.html"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Peep
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poems in <i style="mso-bidi-font-style: normal;"><a href="http://www.moriapoetry.com/satu.html"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Moria</span></a></i></span></div>
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<b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 12.0pt; line-height: 250%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">A National Geographics doc<br />
on the <a href="http://en.wikipedia.org/wiki/The_Voynich_Manuscripts"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Voynich
Manuscript</span></a><o:p></o:p></span></b></div>
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<b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 12.0pt; line-height: 250%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Every bit as cheesy as that sounds</span></b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 12.0pt; line-height: 250%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;"><o:p></o:p></span></div>
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<h2 class='date-header'><span>Thursday, May 23, 2013</span></h2>

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<h2 class='date-header'><span>Friday, March 02, 2012</span></h2>

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<h2 class='date-header'><span>Friday, December 31, 2010</span></h2>

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<p class=MsoNormal align=center style='text-align:center'><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Greenaway&#8217;s<br> <i style='mso-bidi-font-style:normal'><a href="http://www.huffingtonpost.com/kisa-lala/peter-greenaway-spices-up_b_791593.html"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Leonardo&#8217;s Last Supper</span></a></i><br> will be up at the <a href="http://www.armoryonpark.org/"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Park Ave Armory</span></a><br> in New York until January 6<o:p></o:p></span></p>
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<h2 class='date-header'><span>Saturday, October 16, 2010</span></h2>

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<p class=MsoNormal align=center style='text-align:center'><a href="http://farm5.static.flickr.com/4091/5083255304_50f98cd857_b.jpg"><span style='color:black;mso-themecolor:text1;mso-no-proof:yes;text-decoration:none; text-underline:none'><img border="0" height="387" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh5.googleusercontent.com/proxy/JPweT_RXuaTemdo07X_v7l8k8RNC-bmK8cbSdkE9P31eZQUIxNDdVQft6QS_fy0JMvK5SvTP0byDkBU1ZIIFr54cE-u5uY6LGR-o7LnC8AgFLko%3Ds0-d" width="258"></span></a><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'><o:p></o:p></span></p>
<p class=MsoNormal align=center style='text-align:center'><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>The <a href="http://tony-trehy.blogspot.com/2010/10/ron-sillimans-text.html"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>work</span></a> begins<o:p></o:p></span></p>
<p class=MsoNormal align=center style='text-align:center'><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>The <a href="http://philly.brownstoner.com/2010/08/psfs_an_empty_acronym_in_futur_1.php?gallery3558Pic=5"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>first neon sign</span></a> in <a href="http://phillyskyline.com/123abc/comcast_river.jpg"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>America</span></a><br> <a href="http://upload.wikimedia.org/wikipedia/commons/archive/b/b5/20090823200414!PSFSBuilding1985.jpg"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>still</span></a> <a href="http://farm3.static.flickr.com/2296/2045540592_37cd00cca8_b.jpg"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>glows</span></a> at <a href="http://farm1.static.flickr.com/98/380120971_ab4359a846_b.jpg"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>night</span></a><o:p></o:p></span></p>
<p class=MsoNormal align=center style='text-align:center'><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'><a href="http://www.slate.com/id/2270357/slideshow/2270740/fs/0/entry/2270725/"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Broken</span></a> neon signs<o:p></o:p></span></p>
<p class=MsoNormal align=center style='text-align:center'><a href="http://farm5.static.flickr.com/4106/5082655723_d2205c9fc5_b.jpg"><span style='color:black;mso-themecolor:text1;mso-no-proof:yes;text-decoration:none; text-underline:none'><img border="0" height="315" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh5.googleusercontent.com/proxy/PLpyXSz8VOd2c9zgit1MWjGQxUMKMifBaz0t-W-efxqe4JJiqyUZfMqAT1cSvf9ItD1j_v9PcW8L7OkWS5u6Nw3XvYPcXHn1FOBk_TNb26b1EY0%3Ds0-d" width="472"></span></a><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'><br> </span><i style='mso-bidi-font-style:normal'><span style='font-size:8.0pt; line-height:115%;color:#0D0D0D;mso-themecolor:text1;mso-themetint:242; mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor:text1; mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'>Photos by Phil Davenport</span><span style='color:#0D0D0D; mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D; mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha:100.0%; mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'><o:p></o:p></span></i></p>
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<h2 class='date-header'><span>Wednesday, April 30, 2008</span></h2>

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<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Some thoughts looking back on a busy time &#8211;<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>I got to hear live music twice in one week, a rarity at this point in my life. And the two events really do represent the range of what I like: <a href="http://www.jamesfei.com/"><span style='color:black'>James <span class=SpellE>Fei</span></span></a> playing solo sax at the CUE Art Foundation last Friday, then <a href="http://www.ely.com/"><span style='color:black'>Joe Ely &amp; Joel Guzman</span></a> at the World Café in Philly on Sunday. <span class=SpellE>Fei</span> I&#8217;ve written about <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2008/04/if-you-look-at-sax-reeds-in-this.html"><span style='color:black'>here</span></a>. His solo performance was every bit as magical as the work of his quartet at the Rotunda in Philly earlier in the month. Again his work was the closest thing I&#8217;d seen / heard to a cerebral minimalism applied to free jazz. The combination is exhilarating. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Ely, on the other hand, is the Lubbock-raised country / folk / rockabilly veteran who&#8217;s a key part of the legendary <a href="http://jimmiegilmore.com/TFL/index.html"><span style='color:black'>Flatlanders</span></a> (alongside Jimmie Dale Gilmore &amp; Butch Hancock), a recurring member of <a href="http://en.wikipedia.org/wiki/Los_Super_Seven"><span style='color:black'>Los Super Seven</span></a>, &amp; who&#8217;s played over the years with such folk as Bruce Springsteen &amp; The Clash. He &amp; accordion-wizard Guzman performed an hour &amp; 45 minutes of mostly up-tempo pieces that included all of the above influences, a touch of mariachi, the requisite <span class=SpellE>Townes</span> Van Zandt song (&#8220;</span><st1:place><st1:PlaceName><span style='font-size:10.0pt;font-family:Arial;color:black'>Tecumseh</span></st1:PlaceName><span  style='font-size:10.0pt;font-family:Arial;color:black'> </span><st1:PlaceType><span   style='font-size:10.0pt;font-family:Arial;color:black'>Valley</span></st1:PlaceType></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>&#8221;) &amp; even <a href="http://en.wikipedia.org/wiki/Porter_Wagoner"><span style='color:black'>Porter Wagoner&#8217;s</span></a> &#8220;Satisfied Mind.&#8221; <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>I came away from </span><st1:State><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>New York</span></st1:place></st1:State><span style='font-size:10.0pt;font-family:Arial;color:black'> with a sense that <a href="http://www.cueartfoundation.org/cynthia-miller.html"><span style='color:black'>Cynthia Miller&#8217;s show</span></a> at the CUE Art Foundation was the best show I saw in </span><st1:State><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>New York</span></st1:place></st1:State><span style='font-size:10.0pt;font-family:Arial;color:black'>. Two other shows that were well worth viewing were <a href="http://www.jenbekman.com/artists/ian_baguskas/"><span style='color:black'>Ian <span class=SpellE>Baguskas</span>&#8217;</span></a> photographs at Jen <span class=SpellE>Bekman</span> on Spring Street &amp; <a href="http://www.newmuseum.org/exhibitions/20"><span style='color:black'>Paul Chan&#8217;s exhibition</span></a> &#8220;The 7 <s>Lights&#8221; </s>at the New Museum (that strikethrough is part of the title). I have to sit with my reaction to the New Museum itself &#8211; I immediately liked the light inside, and the galleries felt appropriately sized, but I&#8217;m not at all sure about the wildly fluctuating &#8220;maximum occupancy&#8221; limitations from floor to floor. Also the fact that an eight-story building only proves capable of having three active galleries suggests that the <span class=SpellE>whizbang</span> architecture will have a long-term impact compromising curatorial impulses. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>One show that I found somewhat disappointing, mostly because it was so Spartan, was the exhibition of Joe <span class=SpellE>Brainard&#8217;s</span> &#8220;Nancy&#8221; works (mostly, I think, from the volume <i style='mso-bidi-font-style: normal'>If</i>) at <span class=SpellE>Tibor</span> de Nagy, which was crowded into the gallery&#8217;s smaller alcove in order to leave the larger one to Ben Aronson&#8217;s lumbering &amp; <span class=SpellE>unwatchable</span> urban &#8216;scapes. This is one of those cases where <a href="http://www.sigliopress.com/books/nancy.htm"><span style='color:black'>the book</span></a>, which the </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Nancy</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> <span class=GramE>show</span> is intended to celebrate, is unquestionably greater than the exhibition. Aronson made me want to go view some Diebenkorn, Thiebaud or David Park.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>But the real train wreck was the Whitney &amp; its lingering Biennale, even tho there were works there by people I like such as <a href="http://www.baldessari.org/"><span style='color:black'>John Baldessari</span></a>. Baldessari, who provided the cover for the first edition of my book <i style='mso-bidi-font-style:normal'>Tjanting,</i> has many virtues, but when he comes across looking like the master craftsperson in the building, something&#8217;s amiss. The theme appears to have been rubble (which would explain why the show includes Spike Lee&#8217;s magnificent HBO miniseries on </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>New Orleans</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'>), but I felt for the most part like I had been sent to art school hell. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>I missed the Poetry Society of America&#8217;s 98<sup>th</sup> annual awards ceremony earlier last week, due almost entirely to my pneumonia (which hangs on as I write) and its impact on my day job, plus my desire to be at the CUE opening. In addition to Aram Saroyan winning the William Carlos Williams Award, with Roberta <span class=SpellE>Beary</span> &amp; Eileen Myles <span class=GramE>a finalists</span>, the other winners (and judges) include:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.75in;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Michael S. Harper, The Frost Medal (presumably given by the PSA board of governors)<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.75in;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Ed Roberson, The Shelley Memorial Award (judged by Lyn Hejinian &amp; C.D. Wright)<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.75in;text-indent:-.25in'><span class=SpellE><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Joanie</span></span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'> <span class=SpellE>Mackowski</span>, The <i style='mso-bidi-font-style:normal'>Writer </i>Magazine/Emily Dickinson Award (judged by Donald <span class=SpellE>Revell</span>)<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.75in;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Brian Henry, Cecil Hemley Memorial Award (judged by Norma Cole)<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.75in;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Wayne Miller, Lyric Poetry Award (judged by Elizabeth Macklin)<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.75in;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Christina Pugh, Lucille <span class=SpellE>Medwick</span> Memorial Award (judged by Timothy Donnelly); finalist Sally Ball<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.75in;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Natasha <span class=SpellE>Sajé</span>, Alice Fay <span class=SpellE>Di</span> <span class=SpellE>Castagnola</span> Award (judged by Dean Young); finalists Kevin <span class=SpellE>Prufer</span> &amp; James Richardson<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.75in;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Carey Powers, Louise Louis/Emily F. Bourne Student Poetry Award (judged by David Roderick); finalists Willa Granger &amp; Philip Sparks<o:p></o:p></span></p> 

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.75in;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Theresa Sotto, George <span class=SpellE>Bogin</span> Memorial Award (judged by Prageeta Sharma)<o:p></o:p></span></p> 

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.75in;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Jocelyn Emerson, Robert Winner Memorial Award (judged by Annie Finch); finalists Rachel Conrad &amp; Marsha <span class=SpellE>Pomerantz</span><o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.75in;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Catherine <span class=SpellE>Imbriglio</span> for <i style='mso-bidi-font-style:normal'>Parts of the Mass, </i>published by Burning Deck, Norma Farber First Book Award (judged by <span class=SpellE>Thylias</span> Moss); finalist <span class=SpellE>Alena</span> Hairston for <i style='mso-bidi-font-style:normal'>The Logan Topographies, </i>published by <span class=SpellE>Persea</span>. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>What one notices first, or at  least what <i style='mso-bidi-font-style:normal'>I </i>notice first, is the diversity. From Annie Finch &amp; Dean Young to myself, C.D Wright, Norma Cole &amp; Prageeta Sharma among the judges &#8211; that&#8217;s the broadest range I&#8217;ve seen for a set of awards. Last year&#8217;s judges (</span><span style='font-size:10.0pt;font-family:Arial'>Thomas Sayers Ellis, <span class=SpellE>Matthea</span> Harvey, Tony Hoagland, Susan Howe, Michael Palmer, <span class=SpellE>Srikanth</span> Reddy, Eleni Sikelianos, Tracy K. Smith, Rosmarie Waldrop, and Eleanor <span class=SpellE>Wilner</span>) weren&#8217;t bad either. Whatever one thinks about awards, or these award winners, the fact that the PSA is making a concerted effort to reach a broader range of what poetry actually is can only be commended.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span class=GramE><span style='font-size:10.0pt;font-family:Arial'>Which is not to say that it&#8217;s perfect.</span></span><span style='font-size:10.0pt;font-family:Arial'> I made a point of recommending a specific work for inclusion in the program for the evening:<o:p></o:p></span></p>

<p class=MsoNormal align=center style='margin-bottom:12.0pt;text-align:center'><img border="0" height="123" id="_x0000_i1026" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh5.googleusercontent.com/proxy/C62ubUIpnaIQaIhrQl2jveY3SOADlAaRV1sZP25OVAlNlaL_wBQHHlXMdMfqyibOm13Np3xPmUM3UDrb8klqhvM26ZKjKaa6DhEzuFlS-nxT%3Ds0-d" width="156"></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>What I actually find in the program, which just arrived in the mail, is the following:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:2.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>a man stands<br>
on his<br>
head one<br>
minute &#8211;<br>
<br>
then he<br>
<span class=GramE>sit</span><br>
down all<br>
different<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>My original suggestion stresses what is unique about Saroyan&#8217;s volume. The poem actually used stresses the ways in which his writing in the 1960s might be seen as continuous with the lyric tradition. Both aspects, as I noted <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2008/04/i-was-planning-on-running-this-note.html"><span style='color:black'>here</span></a>, are present in Saroyan&#8217;s writing. But, especially given the ongoing ghettoization of vispo, which do you think is the more important message?<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>One final note: readers of this blog clicked on over 5,000 links on Monday, a first. <o:p></o:p></span></p>
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<h2 class='date-header'><span>Friday, November 09, 2007</span></h2>

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<p class=MsoNormal align=center style='margin-bottom:12.0pt;text-align:center'><img height="344" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh3.googleusercontent.com/proxy/wFXemsDwYh_G_SA6TT9PPyYlHZL7rGXAWQakkilcs4wjptNEy_p3U5T4ez9vU_HKAd9Zbxtivb6UsOHA3Of3Cq4Jkdi6BuDlAg5Z8bHxvaeBdfU%3Ds0-d" width="498"></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>I shouldn&#8217;t whine. Whenever I complain that the School of Quietude has held something close to a monopoly position on American poetry&#8217;s institutional awards, in spite of just being one scene among many &#8211; and an insistently derivative &amp; conservative one at that &#8211; I have to at least admit that there have been breakthroughs, particularly over the last decade, poets who have won awards (Nate Mackey, say) or been on notable shortlists (Alice Notley, Harryette Mullen), gotten teaching jobs at significant schools from Mills &amp; UC San Diego &amp; Berkeley to Ivy League bastions Penn &amp; Brown. The walls may once have seemed impregnable but now surely they&#8217;re coming down. Indeed, that seems to be precisely what has Charlie Simic&#8217;s knickers in such a twist. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>But I&#8217;m looking at all this from a particular perspective, a position that can be historically located along the long arc of generative poetics that stretch from Wordsworth, Blake &amp; Baudelaire to the present. <span class=GramE>The marginality that characterized Walt Whitman &amp; Emily Dickinson, the first two American poets to completely abandon the Anglophile notions of the </span></span><st1:place><st1:PlaceType><span class=GramE><span   style='font-size:10.0pt;font-family:Arial'>School</span></span></st1:PlaceType><span  class=GramE><span style='font-size:10.0pt;font-family:Arial'> of </span></span><st1:PlaceName><span class=GramE><span style='font-size:10.0pt;font-family:Arial'>Q</span></span></st1:PlaceName></st1:place><span class=GramE><span style='font-size:10.0pt;font-family:Arial'>, are completely behind us.</span></span><span style='font-size:10.0pt;font-family:Arial'> We have moved beyond even the tokenism that allowed Pound (with the Bollingen) and Williams (with his posthumous Pulitzer &amp; even an invitation to be what was then called the Poetry Consultant to the Library of Congress) to receive accolades while Gertrude Stein was treated like a joke &amp; the Objectivists were permitted to disappear for some 15 years, not to mention the obscurity that greeted the likes, say, of Mina Loy. That sort of neglect is so over. <span class=GramE>At least from the view on my particular mountaintop.</span> <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>Consider then this same literary history from the vantage of visual poetry. From that perspective, it still must feel like 1940. There are major practitioners, a significant and growing critical discourse &amp; the institutions of poetry have thus far paid almost zero attention. No volume of vispo has ever made a major prize shortlist. No visual poets sit as chancellors at the </span><st1:place><st1:PlaceType><span style='font-size:10.0pt;font-family:Arial'>Academy</span></st1:PlaceType><span style='font-size:10.0pt;font-family:Arial'> of </span><st1:PlaceName><span style='font-size:10.0pt;font-family:Arial'>American Poets</span></st1:PlaceName></st1:place><span style='font-size:10.0pt;font-family:Arial'>, as do Mackey, Lyn Hejinian &amp; Gary Snyder. Are Crag Hill &amp; Mary Ellen <span class=SpellE>Solt</span> the only visual poets ever to get hired by a university based on their writing? Is the closest thing to vispo on the Poetry Foundation website George Starbuck&#8217;s &#8220;Sonnet in the Shape of a Potted Christmas Tree,&#8221; part of that organization&#8217;s pantheon of works in printable PDF files explicitly <span style='color:black'>designed &#8220;<a href="http://www.poetryfoundation.org/archive/tool.av.visual.3.html"><span style='color:black'>for the fridge</span></a>&#8221;? The record of neglect</span> here is so much deeper than anything even the Objectivists had to contend with that it&#8217;s worth noting.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>I&#8217;m sure that from some neophobe perspective, the deeper question might be what makes vispo poetry? As if one pass through the works of William Blake doesn&#8217;t silence that dubious line of argument forever. When I gave my talk on recognizability at the </span><st1:place><st1:PlaceType><span   style='font-size:10.0pt;font-family:Arial'>University</span></st1:PlaceType><span  style='font-size:10.0pt;font-family:Arial'> of </span><st1:PlaceName><span   style='font-size:10.0pt;font-family:Arial'>Windsor</span></st1:PlaceName></st1:place><span style='font-size:10.0pt;font-family:Arial'> the other night, among the images I actually employed were works by Ed Ruscha and Jenny Holzer, noting that both of these text workers adamantly self-identify not as writers but as visual artists, a context distinction that has profound financial implications. Is a visual poet really just an artist who has taken a vow of poverty? This reminds me of the crack Charles Bernstein likes to make about a poem being a unique phenomenon that, when it is printed on a piece of paper, lowers the economic value of that otherwise blank page. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>I&#8217;ve been looking for the past two weeks at the breath-taking work of <a href="http://invisiblenotes.blogspot.com/"><span style='color:black'>Peter Ciccariello</span></a> in his book <i style='mso-bidi-font-style:normal'><a href="http://uncommon-vision.blogspot.com/"><span style='color:black'>Uncommon Vision</span></a>, </i>which I heartily &amp; unreservedly recommend to anyone who has even the slightest doubt as to the potential value of vispo. The image at the top of this note, <i style='mso-bidi-font-style:normal'>Language as Authority,</i> actually doesn&#8217;t appear in the book itself, but <span class=GramE>it&#8217;s</span> representative of Ciccariello&#8217;s best work and what you will find in those pages. <i style='mso-bidi-font-style:normal'>Uncommon Vision </i>divides Ciccariello&#8217;s work into two groups, images that don&#8217;t incorporate texts and those that do, the latter section (appropriately designated &#8220;Word&#8221;) headed off with a one-page appreciation by Geof Huth, tracing writing back to the very idea of <i style='mso-bidi-font-style:normal'>drawing letters</i>&#185; and talking about the experience of confronting these <i style='mso-bidi-font-style:normal'>as texts</i></span><span style='font-size:10.0pt;font-family:Arial'> without actually discussing in any great detail <i style='mso-bidi-font-style:normal'>how </i>Ciccariello does all this &amp; only starting to suggest its implications for the process we think of as reading. <o:p></o:p></span></p> 

<p class=MsoNormal style='margin-bottom:12.0pt'><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial;color:black'><a href="http://www.dimagemaker.com/article.php?articleID=905"><span style='color:black'>The Digital <span class=SpellE>ImageMaker</span></span></a>, </span></i><span style='font-size:10.0pt;font-family:Arial;color:black'>where Ciccariello won a photography contest for one of the non-text works, <i style='mso-bidi-font-style:normal'><a href="http://www.dimagemaker.com/ktml2/images/uploads/comp/pspxi/bird.jpg?0.7969669672085514"><span style='color:black'>Bird in a Basket</span></a><span class=GramE>, <span style='font-style:normal'>that does appear in </span>Uncommon Vision&#178;,</span> </i>describes <i style='mso-bidi-font-style:normal'>Language as Authority </i>as<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'>a d</span><span style='font-size:10.0pt;font-family:Verdana'>igital collage containing a number of photographs and fragments of text all merged with an underlying structure of geometric forms texture mapped with additional photographs and rendered in Bryce. <span class=SpellE>Postwork</span> is done in Photoshop and Painter.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Don&#8217;t you just know this is how Charlie Simic characterizes <i style='mso-bidi-font-style:normal'>his </i>writing process also? Not likely. But then again, me neither. I&#8217;m still drawing words in notebooks, but they don&#8217;t especially look any different once I type them up from other text-ridden (or written) poetry. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>What you read when you read a visual poem differs markedly from poet to poet, poem to poem, just as with any other genre of verse. What you&#8217;re not going to get, here or most other places (George Starbuck &amp; the shaped poems of John Hollander <span class=GramE>excepted</span> perhaps), is persona or the old, cold verse form conformities of an earlier century. In fact Ciccariello&#8217;s work is not <i style='mso-bidi-font-style:normal'>that </i>far from the <a href="http://www.thing.net/~grist/l&amp;d/grenier/lgrena00.htm"><span style='color:black'>scrawl texts</span></a> of <a href="http://epc.buffalo.edu/authors/grenier/"><span style='color:black'>Robert Grenier</span></a> where the task of the reader is ultimately to fathom out what it says. Where Grenier gives you nothing but the hand of the poet, using marker or even crayon, Ciccariello offers landscapes that recall the works of Dali or sci-fi book jackets across which texts are stretched &amp; folded much as they are on the figure above. Letters are discernable, words less so, themes &#8211; well, themes are really a balance between what the landscape itself tells us and what few words come across, or even what font. There are, for example, multiple layers to the text above with its image of a ghost warrior &amp; giant lower-case <i style='mso-bidi-font-style:normal'>g </i>foregrounded as it is. Both <i style='mso-bidi-font-style:normal'>Language as Authority </i>and the landscapes of <i style='mso-bidi-font-style:normal'>Uncommon Vision </i>remind me of passages of Claude Levi-Strauss&#8217; great <span class=SpellE><i style='mso-bidi-font-style:normal'>Tristes</i></span><i style='mso-bidi-font-style:normal'> <span class=SpellE>Tropique</span> </i>where Levi-Strauss compares reading to the visual inspection of a field, whether that of a contemporary geologist&#8217;s or a pre-modern hunter. <i style='mso-bidi-font-style:normal'>Where does reading begin </i>works like this beg of us. How do we even think to make sense of the visual field? Grenier and Ciccariello have very different responses to this &#8211; I can&#8217;t imagine Grenier engaging the concept of depth perception as part of his project, while it feels close to central to Cicciarello&#8217;s &#8211; I&#8217;m tempted to say that his work is all about seeing depth on a two-dimensional plane, tho I know that&#8217;s an overstatement. And where Grenier deploys fairly rudimentary colors to distinguish word from overlapping word (thus <i style='mso-bidi-font-style:normal'><a href="http://www.thing.net/~grist/l&amp;d/grenier/lgrena05.htm"><span style='color:black'>this</span></a> </i>reads &#8220;I saw it where is it&#8221;), the real process of <span class=SpellE>Greier&#8217;s</span> poem the coming to recognition of the word, Cicciarello is far more about effects that are at the edge of language, one of which is his obsession with the color brown (it can&#8217;t just be that he lives in Providence, home to a university by that name), which is &#8220;off the charts&#8221; on the old color wheel &amp; which brings forth a whole terrain&#8217;s worth of connotation &#8211; in most of his works, the text is </span><b style='mso-bidi-font-weight:normal'><span style='font-size:10.0pt;font-family:Arial;color:#FFFF99;background:#993300'>lighter than its background</span></b><span style='font-size:10.0pt;font-family:Arial;color:black'>. What changes when you read it like that? Is that, or is that not, a mode of meaning? And which meaning is that?<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>If Grenier then offers us <span class=GramE>a poetry</span> of coming into language, of recognition, Cicciarello seems far more a poet going in the other direction, concerned instead with the moment things pass into unintelligibility, the instant of rupture. Several of the texts in <i style='mso-bidi-font-style:normal'>Uncommon Vision </i>speak to this in their titles as well: <i style='mso-bidi-font-style:normal'>Our own vestigial language shuddering toward obscurity </i>or <i style='mso-bidi-font-style:normal'>Proposed monument to the language of rupture.<o:p></o:p></i></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>All of which is to note that I&#8217;m persuaded, completely, by this work. Ciccariello would seem to me to be a perfectly reasonable candidate for any major book award you might think of, and would certainly be far less of an embarrassment as <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2007/10/in-recent-years-different-poets.html"><span style='color:black'>PLOTUS</span></a> than that position&#8217;s current appointee. So, let me ask you again, why the total exclusion of visual poetry? <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span class=GramE><span style='font-size:8.0pt;font-family:Arial;color:black'>&#185; Anyone who has ever tried to make their way through my own pathetic penmanship</span></span><span style='font-size:8.0pt;font-family:Arial;color:black'> will recognize that drawing letters is exactly what I do and no amount of Palmer method script training ever has been able to break me of this primal habit. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:8.0pt;font-family:Arial;color:black'>&#178; <i style='mso-bidi-font-style:normal'>Bird in a Basket </i>also won first prize in the Donnie 2007 Award of the </span><st1:place><st1:PlaceType><span   style='font-size:8.0pt;font-family:Arial;color:black'>Museum</span></st1:PlaceType><span  style='font-size:8.0pt;font-family:Arial;color:black'> of </span><st1:PlaceName><span   style='font-size:8.0pt;font-family:Arial;color:black'>Computer Art</span></st1:PlaceName></st1:place><span style='font-size:8.0pt;font-family:Arial;color:black'>. <o:p></o:p></span></p>
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<h2 class='date-header'><span>Tuesday, September 24, 2002</span></h2>

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<st1:personname><span style="font-family: Arial;">Bob Perelman</span></st1:personname><span style="font-family: Arial;"> was thumbing through my copy of Ed Ruscha&#8217;s <i style="mso-bidi-font-style: normal;">They Call Her Styrene</i> (<span class="SpellE">Phaidon</span>, 2000) the other evening, which raises the question
of intermedia from another angle. Ruscha, if you don&#8217;t know his work, is a
painter and photographer associated with the 1960s </span><st1:city><st1:place><span style="font-family: Arial;">Los Angeles</span></st1:place></st1:city><span style="font-family: Arial;"> scene that proved to be an intersection between Pop,
Funk and Conceptual art. His work takes different forms, but <i style="mso-bidi-font-style: normal;">Styrene</i> is representative of the works
that have most attracted me: prints, drawings and watercolors involving
anything from a single word to short phrases, often against backgrounds that
are close to monochromatic but which may suggest a picturesque element. <i style="mso-bidi-font-style: normal;">Styrene</i> collects some 600 of these works
into a single, affordable volume &#8211; I&#8217;ve seen individual paintings priced as
high as $45,000. My question is this: <i style="mso-bidi-font-style: normal;">fine
as they are as visual works of art, are Ed Ruscha&#8217;s text pieces also writing?<o:p></o:p></i></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Ruscha himself has a
cryptic, but intriguing comment right at the end of the book: &#8220;Sometimes found
words are the most pure because they have nothing to do with you. I take things
as I find them. A lot of these things come from the noise of everyday life.&#8221;
End of comment.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">So far as I know, Ruscha has
not undertaken to publish these works as writing, nor in the context of
writing. As visual art, these works inhabit that territory that utilizes
language for its own purposes. Its closest kin in that vein may be the signage
of <a href="http://adaweb.walkerart.org/context/artists/holzer/jhimg2.html">Jenny
Holzer</a>, the paintings of Lawrence Weiner, or the poster paintings of
Barbara Krueger, but the more densely textual pseudo-philosophical musings of
Joseph Kosuth and Art Language aren&#8217;t entirely unrelated either. Ruscha&#8217;s
prints and paintings make use of color and the illusions of depth and texture
in ways that Holzer&#8217;s do not and his works often lack the overt political commentary
one finds in her work and in that of Krueger&#8217;s. At its most plain, a Ruscha
work might consist of white sans serif letters centered against a black
background: <o:p></o:p></span></div>
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<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: Arial;">A HEAVY<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: Arial;">SHOWER<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: Arial;">OF SCREWS<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span class="GramE"><span style="font-family: Arial;">or</span></span><span style="font-family: Arial;"> <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: Arial;">THICK BLOCKS<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: Arial;">OF<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: Arial;">MUSICAL FUDGE<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span class="GramE"><span style="font-family: Arial;">or</span></span><span style="font-family: Arial;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: Arial;">WARM<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: Arial;">AUDITORIUM<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">While Holzer has executed
some pieces etched into benches, a form that has to recall the (literally)
concrete poems of Scottish poet Ian Hamilton <span class="SpellE">Finlay</span>,
Ruscha&#8217;s droll texts strike me in many ways being better writing. <span class="GramE">If, that is, they are writing at all.</span> The last text above,
for example, makes great use of the recurrence of <span class="GramE">the <i style="mso-bidi-font-style: normal;">a</i></span><i style="mso-bidi-font-style: normal;">, r </i>and <i style="mso-bidi-font-style: normal;">m</i> sounds (not to
mention the echo of the <i style="mso-bidi-font-style: normal;">w</i> one hears
in the two instances of the <i style="mso-bidi-font-style: normal;">u</i>), an
attention to the smallest of details that might be more apt to associate with
the poetry of Robert Grenier. Microwriting such as this can invoke every
pleasure one expects from the best of poetry. The first two pieces above aren&#8217;t
bad either &#8211; both use the same strategy of invoking a single term that is &#8220;out
of context&#8221; in its phrase (<i style="mso-bidi-font-style: normal;">screws </i>and
<i style="mso-bidi-font-style: normal;">musical</i>), which functions to set the
language around it into a kind of relief, classic demonstrations of what the
Russian formalists called <i style="mso-bidi-font-style: normal;">ostrananie</i>,
Brecht &#8220;the alienation effect,&#8221; and which Pound characterized as &#8220;making it
new.&#8221;<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">In addition to reminding me
at moments of Grenier, some of the more visually complex of Ruscha&#8217;s pieces,
where richly textured &#8220;3D&#8221; words float in idealized pastel skies, remind me of
how Hannah Weiner used to describe her visual hallucinations, words that would
appear on people&#8217;s foreheads that to her seemed to be composed in &#8220;dog fur&#8221; or
similar materials. Weiner used these messages to create her &#8220;clairvoyant&#8221;
works, although that aspect of such found language is not carried through her
writing &#8211; the closest she gets is to occasionally &#8220;erase&#8221; some lines of certain
letters. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">All of which makes Ed
Ruscha&#8217;s texts function as an intriguing test of the boundaries of writing &#8211;
how can a lone word such as &#8220;<span class="SpellE">fud</span>,&#8221; written in what
looks like white ribbon on an intense red surface (onto which the letters cast
shadows) function as a poem? It can / <span class="GramE">It</span> can&#8217;t / It
can / It can&#8217;t &#8211; like a <span class="SpellE">Necker</span> cube or other optical
illusions, the text strobes in and out of the realm of literature (though it
always remains within the realm of the visual). It may be that this flicker
effect is precisely Ed Ruscha&#8217;s contribution to writing.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Some of Ruscha&#8217;s word works
can be sampled on the web at the following sites:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.0in; mso-list: l0 level1 lfo2; tab-stops: list 1.0in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Wingdings; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">&#167;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;"><a href="http://a-r-c.gold.ac.uk/a-r-c_Five/printexts/print_conceptual.html">Golden
Words</a><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.0in; mso-list: l0 level1 lfo2; tab-stops: list 1.0in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Wingdings; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">&#167;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;"><a href="http://www.moma.org.uk/RUSCHA/ruscha_past.htm">The Mountain</a><o:p></o:p></span></div>
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<a href="http://www.ucpress.edu/books/pages/10742.php">I: The Age of Huts<br /><br /></a>             <a href="http://www.ucpress.edu/books/pages/10742.php"><img src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh6.googleusercontent.com/proxy/u_VsYLU9NS_tJXOrl6A4RM1Dne7QkuSslpBc0StgKSXXoIDStYoXqSwDo2tuxST00QD3ynVJH4yjAhcEzTWyM0F_RriCRx9yZdyygceY2wm-%3Ds0-d" /></a><br /><br /><br />II: Tjanting<br /><br /><a href="https://www.saltpublishing.com/products/tjanting-9781876857196"><img src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/efy1lIcVIKeKSdy_WUDIxV8WLN0OJmA3f7enQ2XDwxwt7Bh5ssfQQAkW_o4oG6FqrB1RGf7CX-Rw-VQ4u36RIuwSsCMxWjjHFDP4c7CbW2d_%3Ds0-d" /></a><br /><br /><br /><a href="http://www.uapress.ua.edu/product/Alphabet,1897.aspx">III: The Alphabet<br /><br /></a><a href="http://www.uapress.ua.edu/product/Alphabet,1897.aspx"><img id="ctl00_MainContent_ProductInfo1_ctl00_PrimaryImage_PrimaryImage" onclick="javascript:window.open(&#39;http://www.uapress.ua.edu//images/temp/212-1897-Product_LargeToMediumImage.jpeg&#39;, 1, &#39;resizable=1, width=500, height=700&#39;)" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh3.googleusercontent.com/proxy/OnaMjXm2h6XxneM04RgHx1Bkf2Wi9UE3a8c3o0NDvW5wXo7BK3MaM5VP9YfbEIpHYxAstTorwhNW4lhhkNuua5bDX7Ogr2UgZ1NMDDjeh-0bNnuo-WH-9pGHIR6lv-4-_UDHVNe36xB6%3Ds0-d" style="border: 1px solid Gray;" /></a><br /><div><br /></div><div>IV. from Universe</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div>
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<span style="font-weight: bold;">MEMOIRS &amp; COLLABORATIONS</span><br /><a href="https://www.amazon.com/Leningrad-American-Writers-Soviet-Union/dp/1562790056">Leningrad</a><br /><a href="http://www.thegrandpiano.org/">The Grand Piano</a><br /><a href="https://www.saltpublishing.com/products/under-albany-9781844710515">Under Albany</a><br /><br /><span style="font-weight: bold;">CRITICISM</span><br /><a href="http://www.spdbooks.org/Producte/0937804207/the-new-sentence.aspx">The New Sentence</a><br /><br /><span style="font-weight: bold;">ANTHOLOGY</span><br /><a href="https://secure.touchnet.com/C22921_ustores/web/classic/product_detail.jsp?PRODUCTID=327&SINGLESTORE=true">In The American Tree</a><br /><br /><br /><br />
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<br /><img alt="" src="file%3A///Users/Lynn/Desktop/silliman2a.jpg" / /><img alt="" src="file%3A///Users/Lynn/Library/Caches/TemporaryItems/moz-screenshot.png" / /><span style="color: #990000; font-weight: bold;">RON SILLIMAN</span> has written and edited 40 books, and had his poetry and criticism translated into 16 languages. Silliman was a 2012 Kelly Writers House Fellow, the 2010 recipient of the Levinson Prize from the Poetry Foundation, a 2003 Literary Fellow of the National Endowment for the Arts, a 2002 Fellow of the Pennsylvania Arts Council, and a 1998 Pew Fellow in the Arts. Silliman has a plaque in the walk dedicated to poetry in his home town of Berkeley and a sculpture in the Transit Center of Bury, Lancaster, a part of the Irwell Sculpture Trail. He lives in Chester County, Pennsylvania and teaches at the University of Pennsylvania.<br /><br /><br /><br /><br /><br /><br />(c) 2002-2019 by Ron Silliman.
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