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<!--StartFragment--><p class="MsoNormal"><span style="font-family:Calibri">____________________________________<o:p></o:p></span></p><p class="MsoNormal"><span style="font-family:Calibri"> </span></p><p class="MsoNormal"><span style="font-family:Calibri">Welcome to November, 2016
on –empyre soft-skinned space: <o:p></o:p></span></p><p class="MsoNormal"><span style="font-family:Calibri">Overcoming Technique:
Multi-Media, Dialectics or Synthesis? <o:p></o:p></span></p><p class="MsoNormal"><span style="font-family:Calibri">Moderated by Murat
Nemet-Nejat (TURKEY, US) with invited discussants Peter Valente (US), Mustafa
Ziyalan (TURKEY, US), Adeena Karasick (CANADA, US), Alan Sondheim (US), Michael Boughn (CANADA),
Jerome Sala (US), Chris Funkhauser (US). <o:p></o:p></span></p><p class="MsoNormal"><span style="font-family:Calibri"> </span></p><p class="MsoNormal"><span style="font-family:Calibri">November 1h Week 1: Peter Valente (US), Mustafa
Ziyalan (TURKEY, US) <o:p></o:p></span></p><p class="MsoNormal"><span style="font-family:Calibri">November 8th Week 2: Adeena Karasick (CANADA, US),
Alan Sondheim (US)<o:p></o:p></span></p><p class="MsoNormal"><span style="font-family:Calibri">November 15th Week 3: Michael Boughn (CANADA), Jerome
Sala (US) <o:p></o:p></span></p><p class="MsoNormal"><span style="font-family:Calibri">November 22nd Week 4: Chris Funkhauser (US), Sally
Silvers (US), Bruce Andrews (US)<o:p></o:p></span></p><p class="MsoNormal"><span style="font-family:Calibri"> </span></p><p class="MsoNormal"><span style="font-family:Calibri">The computer is now a fact
of our life, and in the last decade or so its dark underside has become
visible. In the virtual world a lie is no different than truth—that is
mathematically and epistemologically (and politically) equal to each other. In
the world of digital art, infinite (i.e. algorithmic) openings are potentially
overwhelming and equal to no choice at all. Infinity seductively mutates to
paralysis (or into the positive virtual sealed reality of a
loopgamespace). That beauty is achieved where there is friction. Friction
is the pod of desire, creating what is humanly infinite.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-family:Calibri"> </span></p><p class="MsoNormal"><span style="font-family:Calibri">The above statement is
only a working hypothesis—based on this moderator's belief that technology is
first of all about the posession of power. In the arts (as in society), it may
easily become an "easier," seductively efficient weapon suppressing
expression. Of course, one may agree or disagree with this point of view. The
next question has to do with the idea of truth. In the sense Martin Heidegger
uses in his essay "The Question Concerning Technology," to what
extent does (or doesn't) digital technology lead to the revelation of "the
truth" in the arts? The third question has to do with the concept of
multi-media. Is the goal of multi-media progressive to achieve an ideal
Wagnerian synthesis or is it more dialectical—each acting on the other
reflectively (as is the case in a translation) revealing the other's nature and
limits, the gap separating them as powerful and relevant as the desire for
union. These are all open questions. <o:p></o:p></span></p><p class="MsoNormal"><span style="font-family:Calibri"> </span></p><p class="MsoNormal"><span style="font-family:Calibri">The guests this month all
work both within and outside the digital world and are intensely conscious of
the questions raised above. Peter Valente creating his filmic and photographic
images uses oppositional techniques to bypass the cooked perfection and colors
of photoshop images. Mustafa Ziyalan, on the other hand, uses the cellphone,
including the manipulation of colors, to depict the chaos he sees around
himself. Alan Sondheim, in his multi-media work of recent years, often
contrasts in the same work a text subjected to digital procedures with a piece
of acoustic music performed on a single musical instrument. Adeena Karasick
reverses technology's relationship to power, wresting it back by creating a
poetics based on 12th century Kabbalah principles. In performances, the poems
culminate in ecstatic, erotic-mystical sequences—what the critic Maria Damon
calls "the wall of sound"—where words—often neologisms or word
combinations invented by the poet—richochet against each other. The poems may
use visual and audio digital effects, but always words and the poet's body
performing them is at the center. Along with the controversial poet Kent
Johnson, Michael Boughn is the founder of the blog Dispatches whose basic goal
is to archive texts and elicit discussions that go against the grain of
contemporary artistic, literary or political opinion. Jerome Sala is interested
"in the poetics of corporate and digital jargon and the new subjectivities
to which these languages give rise." His forthcoming book of poetry is <i>Corporations Are People, Too!</i> Chris
Funkhauser explores digital poetry as a new, independant form with unique
pssibilities where the verbal, visual and aural achieve a fluid sysnthesis and
potentially infinite versions of a work coexist simultaneously, depending on
the reader's/player' choices.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-family:Calibri"> </span></p><p class="MsoNormal"><span style="font-family:Calibri">This month of November,
2016 I invite the –empyre subscriber list to discuss these issues in our
soft-skinned space with our distinguished group of weekly guests. <o:p></o:p></span></p><p class="MsoNormal"><span style="font-family:Calibri"> </span></p><p class="MsoNormal"><span style="font-family:Calibri">Murat <o:p></o:p></span></p><p class="MsoNormal"><span style="font-family:Calibri"> </span></p><p class="MsoNormal"><span style="font-family:Calibri">TO MAKE A POST TO THE
SUBSCRIPTION LIST USE:<o:p></o:p></span></p><p class="MsoNormal"><span style="font-family:Calibri"><</span><a href="mailto:empyre@lists.artdesign.unsw.edu.au"><span style="font-family:Calibri;
color:windowtext;text-decoration:none;text-underline:none">empyre@lists.artdesign.unsw.edu.au</span></a><span style="font-family:Calibri">><o:p></o:p></span></p><p class="MsoNormal"><span style="font-family:Calibri"> </span></p><p class="MsoNormal"><span style="font-family:Calibri">TO ACCESS ARCHIVES USE
THIS URL:<o:p></o:p></span></p><p class="MsoNormal"><a href="http://lists.artdesign.unsw.edu.au/pipermail/empyre/"><span style="font-family:Calibri;color:windowtext;text-decoration:none;text-underline:
none">http://lists.artdesign.unsw.edu.au/pipermail/empyre/</span></a><span style="font-family:Calibri"><o:p></o:p></span></p><p class="MsoNormal"><span style="font-family:Calibri"> </span></p><p class="MsoNormal"><span style="font-family:Calibri">TO ACCESS THE WEBSITE FROM
THE CORNELL SERVER TO FIND OUT MORE ABOUT EMPYRE GO TO:<o:p></o:p></span></p><p class="MsoNormal"><span style="font-family:Calibri"><a href="http://empyre.library.cornell.edu">http://empyre.library.cornell.edu</a><o:p></o:p></span></p><p class="MsoNormal"><span style="font-family:Calibri"> </span></p><p class="MsoNormal"><span style="font-family:Calibri">Biographies:<o:p></o:p></span></p><p class="MsoNormal"><span style="font-family:Calibri">Moderator:<o:p></o:p></span></p><p class="MsoNormal"><span style="font-family:Calibri">Murat Nemet-Nejat (TURKEY,
US) is a poet, essayist, translator from Turkish poetry and editor. He is
presently working on his poem "Camels and Weasels." His recent
publications include his translation from the Turkish poet Ece Ayhan, <i>A Blind Cat Black and Orthodoxies</i> (1997,
new edition 2015), his poems <i>The Spiritual Life of Replicants</i> (2011)
and <i>Animals of Dawn</i> (2016), and the
essays "Holiness and Jewish Rebellion: 'Questions of Accent' Twenty Years
Afterwards," Languages of Modern Jewish Cultures: Comparative Pers[ectives
(University of Michigan Press, 2016), "Dear Charles. Letters from a Turk:
Mayan Letters, Herman Melvile and Eda," Letters for Olson, gathered and
ed. Benjamin Hollander (Spuyden Duyvil, 2016), and "A Dialogue with
Olga," Drawing Papers 129, Olga Chernysheva Vague Accent (The Drawing
Center, 2016). He is also the editor of <i>Eda:
An Anthology of Contemporary Turkish Poetry</i> (Talisman Publishers, 2004). <o:p></o:p></span></p><p class="MsoNormal"><span style="font-family:Calibri"> </span></p><p class="MsoNormal"><span style="font-family:Calibri">Weekly Guests:<o:p></o:p></span></p><p class="MsoNormal"><span style="font-family:Calibri">PETER VALENTE is the
author of <i>A Boy Asleep Under the Sun:
Versions of Sandro Penna</i> (Punctum
Books, 2014), which was nominated for a Lambda award, <i>The Artaud Variations</i> (Spuyten Duyvil, 2014), Let the Games Begin:
Five Roman Writers (Talisman House, 2015), a book of photography, <i>Street Level</i> (Spuyten Duyvil, 2016), and
the chapbook, <i>Forge of Words a Forest</i>
(Jensen Daniels, 1998). He is the co-translator of the chapbook, <i>Selected Late Letters of Antonin Artaud,
1945-1947 </i>(Portable Press at Yo-Yo Labs, 2014), which includes six of
Artaud’s letters, and has translated the work of Luis Cernuda, Gérard de
Nerval, Cesare Viviani, Pierre Lepori, and Pier Paolo Pasolini, as well as
numerous Ancient Greek and Latin authors. Forthcoming is a second book of
photography entitled <i>Blue</i> (Spuyten
Duyvil, 2016), and a translation of Nanni Balestrini’s <i>Blackout</i> (Commune Editions, 2017). In 2019. City Lights will
publish all 33 of Artaud’s late letters with an introduction by Stephen Barber.
Valente has also written two experimental sci-fi novellas and two books of
music, one on the improvised music scene and the other on the Northern Soul
movement. Presently, he is at work translating Guillaume Dustan’s Nicolas Pages
for Semiotext(e). In 2010, he turned to filmmaking and has completed 60 shorts
to date, 24 of which were screened at Anthology Film Archives. <o:p></o:p></span></p><p class="MsoNormal"><span style="font-family:Calibri"> </span></p><p class="MsoNormal"><span style="font-family:Calibri">MUSTAFA ZIYALAN was born
at the Black Sea coast of Turkey. He worked as<br>
a general practitioner and coroner in a rural Anatolian village. Now he<br>
lives and practices psychiatry in New York. He has worked with torture<br>
victims, prison inmates, children abusing volatile substances,<br>
pathological gamblers, and persons with AIDS. His poetry, short fiction,<br>
and essays have appeared in many literary periodicals, anthologies and<br>
in book form in Turkey. He poetry appears in English in <i>Eda: An Anthology of Contemporary Turkish Poetry</i>.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-family:Calibri"> </span></p><p class="MsoNormal"><span style="font-family:Calibri">Cited as the Kabbalah
Kohenet (High Priestess), ADEENA KARASICK is a New York based poet, performer,
cultural theorist and media artist and the author of seven books of poetry and
poetics. Writing at the intersection of post-Language Conceptualism and
neo-Fluxus performatics, her urban, Jewish feminist mashups have been described
as “electricity in language” (Nicole Brossard), “proto-ecstatic jet-propulsive
word torsion” (George Quasha), noted for their “cross-fertilization of punning
and knowing, theatre and theory” (Charles Bernstein) "a twined virtuosity
of mind and ear which leaves the reader deliciously lost in Karasick's signature
‘syllabic labyrinth’” (Craig Dworkin). Most recently is <i>This Poem </i>(Talonbooks, 2012)
and <i>The Medium is
the Muse: Channeling Marshall McLuhan </i>(NeoPoiesis Press,
2014). She teaches Literature and Critical Theory for the Humanities and Media
Studies Dept. at Pratt Institute, co-founding Director of the KlezKanada Poetry
Festival and Retreat, and a 2016 Andrew W. Mellon Foundation Award recipient.
The “Adeena Karasick Archive” has just been established at Special Collections,
Simon Fraser University. <o:p></o:p></span></p><p class="MsoNormal"><span style="font-family:Calibri"> </span></p><p class="MsoNormal"><span style="font-family:Calibri">ALAN SONDHEIM is a
Providence-based new media artist, musician, writer, and performer concerned
with issues of virtuality, and the stake that the real world has in the
virtual. He has worked with his partner, Azur Carter and the
performer/choreographer Foofwa d'Imobilite. Sondheim is interested in examining
the grounds of the virtual and how the body is inhabited. He performs in
virtual, real, and cross-over worlds; his virtual work is known for its highly
complex and mobile architectures. He has used altered motion-capture technology
extensively for examining and creating new lexicons of behavior. His current
work is centered around notions of gamespace, 'edgespace' (the border areas of
gamespace) and 'blankness,' projections around edgespace. His current music is
based on the impossibility of time reversal, on fast improvisation, and anti-
gestural approaches to playing.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-family:Calibri"> </span></p><p class="MsoNormal"><span style="font-family:Calibri">MICHAEL BOUGHN's
publications include 12 books of poetry (most recently <i>City -- a poem from the end of the world</i> (Spuyten Duyvil,
2016)), a mystery novel, and multiple essays with a common interest in
postmodern developments in writing, film, and architecture. In April, 2016,
along with poet Kent Johnson, he launched <i>Dispatches
from the Poetry Wars</i>, an online pirate poetry website of often satirical
resistance to both the official verse culture and its Professional Avant-Garde
doppelganger. It dreams of becoming a non-central centre for a shifting
gathering of like-minded and not so like-</span>minded people to be in common
in a way that unfolds into surprise. <o:p></o:p></p><p class="MsoNormal"><span style="font-family:Calibri;mso-ascii-theme-font:major-latin;
mso-hansi-theme-font:major-latin"> </span></p><p class="MsoNormal"><span style="font-family:Calibri">JEROME SALA is a poet,
independent scholar and essayist, who, for most of his life, has earned a
living writing direct response advertising, both digital and print. His books
of poetry include cult classics such as <i>Spaz
Attack</i>, <i>I Am Not a Juvenile
Delinquent</i>, <i>The Trip</i>, <i>Raw Deal</i>, <i>Look Slimmer Instantly</i>, and <i>The
Cheapskates</i>. His essays and poems have appeared widely in publications such
as <i>The Nation</i>, <i>the Brooklyn Rail</i> and <i>Rolling
Stone</i>. Before moving to New York in the 80s, Sala and his spouse, poet
Elaine Equi, did numerous readings together, helping to create Chicago’s lively
performance poetry scene. His blog, on “poetry, pop culture and everyday life,”
is espresso bongo: </span><a href="http://www.espressobongo.typepad.com"><span style="font-family:Calibri;color:windowtext;text-decoration:none;text-underline:
none">http://www.espressobongo.typepad.com</span></a><span style="font-family:
Calibri"> : </span><a href="http://www.espressobongo.typepad.com"><span style="font-family:Calibri;color:windowtext;text-decoration:none;text-underline:
none">http://www.espressobongo.typepad.com</span></a><span style="font-family:
Calibri">. His forthcoming book of poems, <i>Corporations
Are People, Too!,</i> features a series of “Corporate Sonnets” constructed from
“business speak” and the clichés of digital marketing and entrepreneurial
self-help, towards their new subjectivity.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-family:Calibri;mso-ascii-theme-font:major-latin;
mso-hansi-theme-font:major-latin"> </span></p><p class="MsoNormal"><span style="font-family:Calibri;mso-ascii-theme-font:major-latin;
mso-hansi-theme-font:major-latin">Multimedia artist and writer CHRISTOPHER
FUNKHAUSER is author of <i>Prehistoric
Digital Poetry: An Archeology of Forms, 1959-1995</i>, <i>New Directions in Digital Poetry</i>, <i>Whereis Mineral: Selected Adventures in MOO</i>, the chapbooks <i>pressAgain</i>, <i>Subsoil Lutes</i>, <i>Electro Þerdix</i>,
and <i>LambdaMOO_Sessions</i>. He was a
Visiting Fulbright Scholar at Multimedia University (Malaysia) in 2006. In
2009, the Associated Press commissioned him to prepare digital poems for the
occasion of Barack Obama’s inauguration. <i>Funk’s</i></span><i><span style="font-family:Calibri"> SoundBox
2012</span></i><span style="font-family:Calibri">, nominated for a 2013 Digital
Humanities award, interactively unites more than 400 recordings he produced. In
2016, he was a featured presenter at the Whitney Museum of American Art's Open
Plan: Cecil Taylor exhibition. Funkhouser is Professor and Director of the
Communication and Media program at New Jersey Institute of Technology, a
Contributing Editor at PennSound, and hosts POET RAY’D YO on WGXC in Hudson.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-family:Calibri"> </span></p><p class="MsoNormal"><span style="font-family:Calibri"> </span></p><p class="MsoNormal"><span style="font-family:Calibri"> </span></p><p class="MsoNormal"><span style="font-family:Calibri"> </span></p><p class="MsoNormal"><span style="font-family:Calibri"> </span></p><p class="MsoNormal"><span style="font-family:Calibri"> </span></p><p class="MsoNormal"><span style="font-family:Calibri"> </span></p><p class="MsoNormal"><span style="font-family:Calibri"> </span></p><p class="MsoNormal"><span style="font-family:Calibri"> </span></p><p class="MsoNormal"><span style="font-family:Calibri"> </span></p><p class="MsoNormal"><span style="font-family:Calibri"> </span></p><p class="MsoNormal"><span style="font-family:Calibri"> </span></p><p class="MsoNormal"><o:p> </o:p></p><p class="MsoNormal"><o:p> </o:p></p><p class="MsoNormal"><o:p> </o:p></p>
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