Digital Poetry – Performance/Visual/Sound – frikativ by jörg piringer

I first discovered jörg piringer’s work through his smartphone app abcdefghijklmnopqrstuvwxyz. When I went to download it this morning, I learned that there is no app for Android systems, only iPhone. Oh well.

screenshot from frikativ (2)

Looking through his website, I also saw a video of his performance of frikativ, which he describes as “real-time generated visual and sound poetry.” I get more and more jealous of people who can program custom software and make electronic devices for performances like this. The whole thing is amazing.

rumor has it is great too.

New Perloff Article: “Poetry on the Brink”

I read Marjorie Perloff’s “Poetry on the Brink: Reinventing the Lyric” today. I’m not feeling very engaged today, or focused (migraines and stormy weather and all), but I’ll start out by saying this article does a great job of describing the inner workings of the Poembassy in my head that I blew up years ago (see this blog’s title/poem). Perloff has developed and condensed in this article many of her ideas about the current state of Laureate or academic lyric poetry along with the poetry of appropriation, remixing, mashing, citation, multimedia, etc., which stands outside of or against that status quo:

Composition as transcription, citation, “writing-through,” recycling, reframing, grafting, mistranslating, and mashing—such forms of what is now called Conceptualism, on the model of Conceptual art, are now raising hard questions about what role, if any, poetry can play in the new world of instantaneous and excessive information.

As a poet who has for years been using computer programs to do “recycling,” and “mashing” (my favorite of those terms) I am happy to see such a succinct description of this development in poetics, and the readings of Cage’s and Howe’s poems are excellent. And while Perloff’s analysis of the conforming pressures of publication on creative writing faculty seems sound to me (along with the backlash that can accompany a professor attempting anything “experimental” within the graduate workshop setting, where too many M.F.A. students are similarly obsessed with the demands to be published, gain a good reputation, and win awards in order to establish a career), I do feel optimistic about the future of creative writing in the academy for poetry, granted that there is room for optimism for the humanities and/or higher education more generally in this country.

Maybe I’m just deluding myself, as I am considering putting myself on the market for a professorship (any digital poetry jobs being posted out there?) and I need to have something to keep myself motivated. I am certainly more of a pessimist and nihilist by nature. I do have some experience to draw from for my optimism, though. My writing has definitely been outside the status quo since I began an M.F.A. program in 2006, but I was able to get through it all without much conflict and a good deal of encouragement while writing in a range of avant or experimental modes. My thesis was completed as five distinct chapbook projects, two of them exclusively written in collaboration with computer programs and source texts, one of them a citation poem that used Google News, one of them visual or concrete in nature, and another which was a loose collection of poems written in a variety of ways with and without digital means. I had no trouble defending its aesthetic, in spite of these aesthetics being outside of what is the academic norm.  (I should also note that I was and am still struggling to fully understand the poetics of what I am doing.) I offer this as just one example of how, at least within one graduate creative writing program (and not one with any avant- reputation), “otherwise” or experimental writing is at least given space and tolerated.

My experience with web publication and group collective blogging (see eRoGK7 on Gnoetry Daily) have given me some optimism as well. I feel that I am one of hundreds (or is it thousands?) of young writers who are using these various Conceptual and digital techniques and are serious about writing poetry that is an engagement with language, the world, politics, living and being, etc. There is more going on online that interests me than in most print journals (the Chicago Review remains a notable exception), and the resurgence of vispo and vidpo is extremely exciting. I would love to know if there is greater interaction between poetry and other arts now as well, as it seems that poetry is being viewed more widely as a vibrant art form than a stagnant literary form, something I strongly advocate. Having more poetry writing programs established in arts schools and the art departments of larger universities would be a great thing to see happening as well.

So I’ve lost my focus. “Poetry on the Brink,” in spite of its title which seemed at first to suggest another alarmist end-of-the-poetry-world argument, is a good article to explain some of the major directions in the real world of contemporary poetry, and I’d recommend it along with Perloff’s most recent book, Unoriginal Genius, Charles Bernstein’s Attack of the Difficult Poems with Craig Dworkin’s anthology of 21st century poetics, The Consequence of Innovation.

New Article up on 9/11 Poetry: Beyond Grief and Grievance by Philip Metres

You may have noticed that I’ve been obsessed with 9/11 recently. So much disturbs me still about it, especially as the anniversary comes and goes each year: how it forced such a negative sea change in international politics (or was manipulated to that end) as well as a return to a McCarthy era-like culture of fear and self-censorship. Also disturbing is how so much of the evidence from the attacks was literally carted away and destroyed before any serious and thorough investigation could be conducted. The spectre of Virtuality haunts the entire spectacle, regardless of the particular narrative ascribed to the events to make them more real and, as would be expected, more terrifying with each detail. This goes for every theory of events I’ve read or listened to. The fact that we will never know everything, regardless of how often the standard narrative is reinforced or how many times you watch Loose Change, is perhaps the most disturbing thing.

Anyways, I’ve been reading a watching just about everything of any value that I can find about 9/11 and the response to it. I was looking through the Articles section at Poetry Foundation today and found this excellent reflective essay on the issue:

Beyond Grief and Grievance: The poetry of 9/11 and its aftermath by Philip Metres

It very thoughtfully examines a number of poems which responded to 9/11, providing a thorough summary of the 9/11 poetry phenomenon. I especially appreciated it’s treatment of Baraka’s “Somebody Blew Up America,” which I agree was a very important poem that few were willing to listen to. For me, it’s most important point was to emphasize the fact that there has never been a unified America, that the 9/11 attacks did not bring us all together, and to say so is to whitewash the violent and divisive history of America, both in its past and its present. Metres essay gives it a fair reading and treats it’s message with the respect it deserves.


The Bleed 0.1 Is Up and Out in Print

The first issue of the only journal I know currently devoted to Vispo (and really good vispo at that) is now up. The range of different types of visual poetry presented there is truly stunning. You can purchase or view it online via the links below (I love issuu!).

Oh, and I’m in it, too. Pages 73-78.



Available in print and digital edition through MagCloud.

Avantexte – The Bleed 0.1 (or direct link to issue @ issuu)

]] is up at Gnoetry Daily

Over the past two weeks, I have been working on a chapbook of poems (or maybe poetic compositions would be more accurate) which deal with my feelings and thoughts about September 11th, 2001 on this tenth anniversary in a way that I hope is both artful and tasteful.

I’ve written an introduction and posted the three (somewhat incomplete) parts of the chapbook up at Gnoetry Daily over the past three days under my alter ego username eRoGK7, so I’ll stop introducing the thing here. Know that there will be more of the Gnoetry section (Part 2) going up for a while still.

I hope you enjoy it, and that it makes you think about and reflect upon various important things.

All Posts for ]] and Other 9/11 Works

Watching Art21 on Hulu and Thinking about Writing

I’ve started to watch episodes of Art21 on Hulu Plus now through my PS3. Seems you can watch all of the episodes on the PBS Art21 website. I’ve always been fascinated with all kinds of art: music, visual art, literature, dance, film. I’ve also liked to listen to interviews with artists, which I often find much more stimulating than interviews with writers. They usually seem so much more passionate, intense, and wrapped up in what they’re talking about, what they’re working on. It’s this mentality I would like to bring to my poetry, to my projects and what I am doing with language. Some of my favorite poets sound more like abstract visual artists describing a display than writers talking about a poem or the situation that it arose from. Writers like Jackson Mac Low, bpNichol, Gertrude Stein, Leslie Scalapino and Christian Bök that continue to engage my curiosity and respect after repeat engagements with their work and thought. It is not really so much an idea of an avant garde that I want to connect with. Instead, there is a curiosity and openness to their work that is constantly (constantly did) re-emerg(e)ing throughout their careers, a necessity to change the approach, the materials, the aesthetic of their projects as new focal points emerged. And the concepts, perspectives, states of mind, spaces that their works engage with and recreate for readers are a pleasure am undeniably thankful for. This is how I would like my past present and future works to be. If there is a poembassy to bomb, it is in my mind, and I will continue to build it up, blow it up, and build it back. Or maybe stretch out a bit in its hollow shell and look around.

Poet Blog Feeds in Google Reader

I love Google Reader. It’s Google (and Blogger) integration make it very easy to locate a lot of interesting blogs that I was never aware of, and the folders are great for keeping things organized.

I’ve decided that I need to get update on “the scene” of poet blogs out there. I’m feeling really out of the loop, like Rip Van Winkle out of the loop almost. So I’m working on subscribing to the blogs of some poets I like. I’ve followed some of their blogs before, but others I’ve only just seen or heard about from some friends.

If you have any suggestions for other poet blogs I might read, let me know.


Google Reader generated a public page with updating posts from all of these pages. Here it is.

Using “wreading” activities in my Introduction to Poetry class

I guess for my first foray into relating the impact of Language Poets on my own sense of poetry, it will be fine to start with how they have affected my teaching of poetry at the college level. Charles Bernstein in particularly has been someone whose pedagogy I have used as a model to guide how I shape my own courses on poetry as literature and as an art form.

Skimming through some the of chapters of Bernstein’s new book, Attack of the Difficult Poems (I’m able to read it online through my University’s library website as an ebook, but I think it’s stupid that I can’t just download the thing and print it out, or transfer it to my Kindle–I’ll have to work on that [o]: ), I’m surprised at some similarities to what I’ve been doing with my literature classes over the past few years. I’ve experimented with using writing activities in a literature course before, particularly the Introduction to Poetry course I taught last year at Purdue University. I think it is one of the best ways for students unacquainted with poetry and its language activity My subtitle for the course, which I plan to use again, is “Poetry as a Second Language,” which Bernstein’s echoes in his chapter on “Creative Wreading & Aesthetic Judgement:”

My response to this chronic poetic aporia (CPA) is to provide intensive poetry immersion courses, something like teaching poetry as a second language. That means I try to immerse the class in a wide yet distinct variety of poetic forms, sounds, dictions, and logics.

I had connected with that same concept of poetry as a second language via Kenneth Koch’s excellent book on teaching poetry, Making Your Own Days. Koch was referring I think to something Paul Valery had said about poetry being present as a second language within any given language, so that the language of poetry, while dwelling solidly within any given spoken/written language, exists on a somewhat different plane, behaving in different and strange ways in relation to its home language. I took from this that to really teach someone what poetry was it would be necessary to show them how it behaves by its own set of codes nestled within our language’s more instrumental set of signs.

Bernstein seems to describe a set of activities which he uses to run an alternative to the standard “creative writing” workshop for undergrads. I’m a fan of Kenneth Goldsmith’s “uncreative writing” activities, too, as well as other forms of appropriative, generative, or otherwise methods of writing poetry (Google Sculpting, Gnoetry). I’ve taken a lot from other teachers, especially writers who teach.

One wreading activity I had my students participate in last year which they found to be very engaging and enjoyable (I gauged this from their comments, laughter and expressions during the writing process) was for them to apply the Writing by Negation exercise (Oulipo) to two famous American poems. Here are the results:


The first poem below is the class’s negation of Wallace Stevens’ “Anecdote of the Jar.” The second is a negation of Emily Dickenson’s “[The Brain–is wider than the Sky–].” Both poems in their entirety were decided upon by the class calling out suggestions which I then weighed as either being the most “interesting” or popular suggestions.


Novel of Many Cans

for Wally

You retained many cans in Australia,
And square they weren’t, beneath the lake.
They destroyed the prissy palace
Lonely by the lake.

The palace sank down into it,
Poised, increasingly tame.
The cans weren’t square above the sky,
Stout and of a parking garage below the ground.

They left things well alone.
The cans were purple and gaudy.
They smelled of tuna and the beach,
Just like everything else in Australia.

[The Viscera ++ are narrower than the Ocean ++]

for Emily

The Viscera ++ are narrower than the Ocean ++
Then ++ moved them further apart ++
The many the all will exclude
With tension ++ and Eric ++ inside ++

The Viscera is shallower than the sky ++
Against ++ Release you ++ Green for Green ++
The two the same will reject ++
As Granite ++ Netting ++ doesn’t ++

The Viscera is heavier than the Devil ++
As ++ Light as ++ Dollar for Dollar ++
And we will share ++ and they won’t ++
As Multisyllabic Word from Silence ++

Collaboratively composed in class by members of ENGL 237 – 002, Purdue University

Dec. 6, 2010


Novel of Many Cans is one of my favorite titles, I think I’ll steal it! It also has a better ending than I’ve ever written on my own. (How long has it been since I wrote something “on my own” anyways?)

Along with some of my standard writing/reading/wreading activities I might modify the collaborative writing Bernstein describes to suit my own purposes. I’ve got two projects in mind already: one is based on description and another on definition. Perhaps a third can be on subversion? They’ll each contribute a sentence a class day to any text and, by the end of the semester, we’ll have a book length collaboration, or maybe a chapbook that I can try to publish. Wouldn’t that be cool!

I’m a Mother Fucking Amateur: Introducing the updated blog

It’s been a rough year for me. Fifteen months now of lower back problems and sciatica have dealt a serious blow to the amount of time and energy I could devote to writing, reading and thinking about poetry, being a practicing Buddhist, a dutiful husband. This blog has suffered much from my health problems, probably more than anything else, but it’s time for me to get back to work here.

What is the work of Poembassy Bombing? To figure out what it means to be a Mother Fucking Amateur (MFA 2009) and whether this is a term to embrace or run from in shame.

What do I mean by Mother Fucking Amateur? It is the best description I have for how I have felt since I completed my MFA program in 2009. So I have this degree now and a documented (and lived) institutional educational experience. I am a pedigreed “creative writer.” So how I do I become a poet, one of the same ability and impact as those I most respect: Stein, Mac Low, Koch, Silliman, Scalapino, Mohammad, Hejinian? I had a terminal degree and the feeling that I had not even started. This is when I first felt like a mother fucking amateur.

Add to this my health issues. However clear my sense of purpose or direction may have been 16 months ago (and trust me, it was not all that clear, all though it seems otherwise now) things have changed. The Buddhism that inspired my previous title (what light already light) is no longer as solid in my mind and life as it was, partly due to my physical inability to properly practice meditation and partly due to the ideas of Stephen Batchelor (Buddhism Without Beliefs) and Slavoj Zizek. Zizek’s ideological critiques of Western Buddhism particulary, although I find them problematic (I’ll blog on this later for sure), have made me suspicious of my own motivations and desires concerning my adopted religion/philosophy. My infant poetics and aesthetic sense have also fallen into troubling times, and I find myself really needing to read, discuss and come to new and more informed conclusions about the avant-garde ideas that have been somewhere behind my decisions about my writing since I first started down that road six years ago in grad school.

There is a lot that I need to learn about poetry, and I need to develop my own approach to understanding the art and writing about it in addition to my ongoing attempts at practicing it. I’m using the blog to this end for now.

Upcoming projects on the blog:

  • Reading through all of the original L=A=N=G=U=A=G=E issues (@ Eclipse) and reflecting on the relevance and impact of the aesthetics and practice recorded there. I’ve been reading Bernstein’s early essays from Content’s Dream, and I want to get deeper into the writing and ideas of that formative period of the Language School, which has produced some of my favorite poetry of the 20th century.
  • A discussion of Zizek’s critique of Western Buddhism and the impact it has had on how I think about my Buddhist practice. I’m a huge fan of Zizek. I take his criticisms very seriously and think there is a lot to how he problematizes Buddhism for Western practitioners.
  • Thoughts on the writings of Leslie Scalapino. Her last two books and the recent release of the update How Phenomena Appear to Unfold have only furthered my interest in her work. I group her with Mac Low and Stein as an unabashedly eccentric, free and original thinker about what poetry is capable of. Once you can understand her prose style–the density of the ideas and the quirky use of language–there is a lot to experience that is new and strange.
  • How my further use of Creative Wreading (ala Charles Bernstein) works out with my Introduction to Poetry class this fall semester.
  • Other things I’m sure.

New Review of Nick Demske by Nick Demske in Sycamore Review 23.1

@ Fence Books

My pain-&-disenchantment-fueled review of Nick Demske’s first book, Nick Demske, is out in print in the latest Sycamore Review 23.1. Wish it was posted up online, but the best I can do is an excerpt:

Nick Demske, I am erecting a solid bronze monument to this work, devised with warlock magic and prescription medications: a gate in the style of Dante’s Gate of Hell, wrought from the negative energies that hang in cartoon clouds above our heads. I have harnessed the anger of the millions foreclosed upon since 2008; the terror and rage of all whose family members have been shot, bombed or otherwise murdered in armed conflicts over markets, contracts or resources; the depression and anxiety of a population trapped in a bankrupt system of increasing productivity and dwindling prosperity; and the resentment and violence fed by the yawning chasm between rich and poor. The inscription on the gate reads: WHEN I SAY POST-APOCALYPTIC, I MEAN “CONTEMPORARY.”

I really got off on this tongue-in-cheek(s) work of irreverence and offensiveness. If you’re not familiar with Nick Demske’s online journal Boo: A Journal of Terrific Things, you should go read it. Then get a copy of the book.

And hey, Nick, if you read this post, I’m still waiting to hear back about my submissions. It’s been, like, six months now. Is there going to be an Issue 3? Don’t misunderstand me, I know how busy things get, but I about shit my pants for joy when I saw a journal asking for what seemed to be exactly what I had been writing for over a year. A journal of offensive things is something this country really needs. And a museum and cable television network of truly offensive things, in addition to the offensively stupid things already out there.