<div dir="ltr">Thank you, Murat for your statement(s) and invitation to join this forum this week<div><br></div><div>I really appreciate what you said about my dancing/moving. Few people, including many professional writers about my work in the dance world, have called attention to my movement vocabulary or pointed out "the rehash" of a lot of other experimenters. My goal from the beginning was to shed codified dance vocabulary that was 'learned' on my body and try to find something outside the dance world and outside my own preconditioned habits as a way to move. To give into reality while experimenting maximally. Just like with language, often the first impulse on the part of the viewer/reader is to want to take for granted or to expect standardized vocabulary and 'look beyond or through" the way the body is moving to the so-called 'real' meaning of the piece. I have always felt that dance has to deal with movement first and foremost, as its first meaning. The layering of other meanings then or simultaneously partners with that base.</div><div><br></div><div>Also funnily, I noticed typos in all our names: Funkhauser/Funkhouser, Andrew/Andrews, Silver's/Silvers'. But I'm sure I would have made a mistake in Murat's name as well. (I almost just wrote Marat).</div><div><br></div><div>So I wrote a statement and Bruce and I combined forces so I'm going to paste Bruce's and mine here together and then Bruce will get on board with his own responses.</div><div><br></div><div>I look forward to acquainting myself with Chris's work. The mix of words/poetry/sound/music sounds like collaborating with yourself in a really appealing way. I would be curious if you (Chris) have combined your own work with people working in different genres or other types of media.</div><div><br></div><div>Also I want to at least briefly address Murat's opening questions to Bruce and me for this week in a later post.</div><div><br></div><div>So here are our opening statements:</div><div><br></div><div>
<p class="MsoNormal"><b><span style="font-family:cambria">SALLY SILVERS</span></b><span style="font-family:cambria"> —<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria"> </span></p>
<p class="MsoNormal"><span style="font-family:cambria">I'm a performer, an
experimental choreographer (coming out of the Judson tradition),<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">have published essays on
dance & the body & its intersection with politics & feminism<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">[including one on
cyborgs], have published poetry & movement descriptions [some <span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">explicating dance pieces
of mine]. <span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">Co-directed two dance
films (with Henry Hills) & a video project with Brian Hayes.<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">I've taught dance
composition, repertory & improvisation; organized a performance <span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">platform, with Jen Abrams,
involving the poetry & dance communities in NY — 'TalkTalkWalkWalk' at the
Bowery Poetry Club.<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">Organized two big
festivals of 'Live Choreography' at Roulette in NYC — making new <span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">work live in front of the
audience from scratch on unrehearsed dancers, also involving<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">collaborations between
choreographers & theater directors.<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">My choreographic work has
highlighted multi-media collaborations with filmmakers,<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">video artists, composers
& improvising musicians, set designers & architects, & a<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">three decades long collaboration
with Bruce Andrews (as text & sound designer).<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">Most of these artists were
'old school'/predigital 'analoguers'.<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">I organized a workshop in
NYC (under the auspices of St Marks Poetry Project) — <span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">'Out of Your Mind &
Into Your Body' — that included poets & movers who wanted<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">to physicalize their own
texts.<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">I'm doing a similar
two-evening workshop in Jan. 2017 (sponsored by Movement <span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">Research & the Poetry
Project): [I'll have info about this
very soon, if anyone would<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">like to consider joining]
—& in Naropa's Summer Program in June, Bruce & I are doing a one week
long joint version of this.<span></span></span></p>
<p class="MsoNormal"><u><span style="font-family:cambria">On the digital front:<span></span></span></u></p>
<p class="MsoNormal"><span style="font-family:cambria">I created a 'Vimeo' page
(of film work & of selected choreographic pieces that I<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">digitized). And I created
a personal website, which has links to my Vimeo page, as well as <span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">photos, poems, essays,
etc.<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">Currently, my biggest
digital project is digitizing nearly all my videos (including<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">rehearsal tapes, raw
material, improvised & choreographed performances dating<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">back [in many formats] to
1980 — with an eye toward creating an Archive & Platform<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">with a big online
component (which I'm doing jointly with Bruce Andrews)<span></span></span></p>
<p class="MsoNormal"><u><span style="font-family:cambria">Meanwhile</span></u><span style="font-family:cambria">:<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">back at my 'day job'
(since 1981), I got my first computer experience at The<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">Labor Institute, a
progressive organization (working with Labor unions) that<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">researches & develops
curriculum on Health & Safety, the Environment & recent<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">Immigrant issues for
working people.<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">There, I hated conforming
to the computer's mandates & grids (without diagonals<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">or curved lines). I first
started to enjoy the computer world when it became a way to<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">communicate & present
or share work & find out about other artists & activists' work.<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">Here's a link to my
website:<span></span></span></p>
<p class="MsoNormal"><i><span style="font-family:cambria"><a href="http://www.sallysilversdance.com">www.sallysilversdance.com</a><span></span></span></i></p>
<p class="MsoNormal"><span style="font-family:cambria"> </span></p>
<p class="MsoNormal"><span style="font-family:cambria"> </span></p>
<p class="MsoNormal"><span style="font-family:cambria">& to my Vimeo page:<span></span></span></p>
<p class="MsoNormal"><i><span style="font-family:cambria;color:rgb(11,85,25)"><a href="https://vimeo.com/user16409788">https://vimeo.com/user16409788</a><span></span></span></i></p>
<p class="MsoNormal"><span style="font-family:cambria">& to a recent
interview about the work Bruce & I have done together:<span></span></span></p>
<p class="MsoNormal"><i><span style="font-family:cambria"><a href="https://www.poetryproject.org/10-questions-for-bruce-andrews-sally-silvers">https://www.poetryproject.org/10-questions-for-bruce-andrews-sally-silvers</a><span></span></span></i></p>
<p class="MsoNormal"><span style="font-family:cambria">& to The Labor
Institute's website:<span></span></span></p>
<p class="MsoNormal"><i><span style="font-family:cambria;color:rgb(11,85,25)"><a href="http://www.thelaborinstitute.org">www.thelaborinstitute.org</a><span></span></span></i></p>
<p class="MsoNormal"><i><span style="font-family:arial;color:rgb(11,85,25)"> </span></i></p>
<p class="MsoNormal"><i><span style="font-family:arial;color:rgb(11,85,25)"> </span></i></p>
<p class="MsoNormal"><b><span style="font-family:cambria;color:rgb(11,85,25)">BRUCE
ANDREWS</span></b><span style="font-family:cambria;color:rgb(11,85,25)"> —<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria;color:rgb(11,85,25)"> </span></p>
<p class="MsoNormal"><span style="font-family:cambria;color:rgb(11,85,25)">I'm an experimental poet (since 1969 — often, correctly,
associated with the so-called<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria;color:rgb(11,85,25)">'Language Poets'), editor (with Charles Bernstein, of <i>L=A=N=G=U=A=G=E</i> magazine,<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria;color:rgb(11,85,25)">1978-1982), essayist (on Poetics), Music Director of Sally
Silvers & Dancers (scores for<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria;color:rgb(11,85,25)">improvisers, soundscapes & texts, since the mid-1980s),
performance artist (including<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria;color:rgb(11,85,25)">the multimedia political performance project <i>BARKING</i> in the '80s), &
recently-retired<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria;color:rgb(11,85,25)">left wing academic (teaching Political Science at Fordham in
NYC, 1975-2013).<span></span></span></p>
<p class="MsoNormal"><u><span style="font-family:cambria;color:rgb(11,85,25)">On the digital front</span></u><span style="font-family:cambria;color:rgb(11,85,25)">: </span><span style="font-family:cambria"><span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria"> late & slow to jump on, computer &
email & Word/pdf documents only in the 21st C.<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">The sound artist Maria
Chavez curated a 25 hour 'Twitter Sculpture' of my work on my<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">birthday a few years ago,
posting 300 short texts, one every 5 minutes, with links to<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">recordings of each on
SoundCloud & opportunities for comment, interactive postings, etc.<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">Right now — <span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">doing some visual art
'Aesthetics/Poetics' curating on Facebook, as well as (right up until<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">the Trumpocalypse, a
series of 'Ridiculous Republicans (or Dangerous Republicans)' <span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">images. [Please friend me
on Facebook].<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">Otherwise, age appropriate
(?!) 'out-of-itness' with regard to social media.<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">No website, but:<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">a few years ago, I helped
the organizers of an academic conference on my poetry to<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">create a pretty elaborate
web collection of material — both of & about my work.<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">[Link here:<span></span></span></p>
<p class="MsoNormal"><i><span style="font-family:cambria"><a href="http://fordhamenglish.com/bruce-andrews">http://fordhamenglish.com/bruce-andrews</a> </span></i><u><span style="font-family:cambria"> ]<span></span></span></u></p>
<p class="MsoNormal"><span style="font-family:cambria">Right now, Sally Silvers
& I are (jointly) organizing our archives — of 35-45 years of <span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">art producing &
community involvement.<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">And slowly getting
acquainted with the practical/theoretical issues involved in archival
presentation & in the opportunities for doing something different with a
platform (especially an online one) based on an archive.<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria"> </span></p>
<p class="MsoNormal"><span style="font-family:cambria"> </span></p>
<p class="MsoNormal"><span style="font-family:cambria">I'm interested in [&
would love to converse about}:<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">how writers would want
'new work' presented online, or what modes of work operate<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">best in that environment;<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">& how you would want
older (archived) work [& surrounding materials] presented.<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">How can the web function
as a <u>Platform</u> for the new & for the archivable.<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">What are the advantages,
opportunities, risks, drawbacks.<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">With 'meaning', what
contextual information can be provided — equivalents of scene-<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">setting, background,
footnotes, forewords;<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">or of hypertextual links
on individual works, phrases, words; or of extra stuff: <span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">equivalent of a photo
exhibit or slideshow, a Q & A/oral history, an artist's statement, results
of online search, data analysis or data mining, comparison with other texts or
other versions or drafts [as in a 'genetic' version of a text].<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">In a dance equivalent,
this might involve links to rehearsal material, source material, multiple
performances, notes, photos, drawings, audio or visual materials — of the kind
you might see in a museum exhibit]<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria"> </span></p>
<p class="MsoNormal"><span style="font-family:cambria">Thinking also of Lev
Manovich's argument in <i>Language of New
Media</i> about the 'data base'<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">as a model — opposed to
the more passive 'following' of a narrative, with search & analysis<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">& active user controls
in the foreground.<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">As artists, what can we do
with tech & what has tech done to us.<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria"> </span></p>
<p class="MsoNormal"><span style="font-family:cambria">*<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">Thanks to Murat for
inviting us. <span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">We're both eager to
participate in this, to hear from subscribers on this site —<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">especially working
textually and/or in performance, confronted with this 21st Century<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">phenom.<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria"> </span></p>
<p class="MsoNormal"><span style="font-family:cambria">If, for instance, they've
been interested or have wanted to experiment with movement<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">& writing
together: what could they imagine they
wanted to see in a digital presentation.<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria"> </span></p>
<p class="MsoNormal"><span style="font-family:cambria">A matter of translation:<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">how to present performance
online — how to make the body into data, or into virtual<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">reality;<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">how to present multi-media
collaborations online;<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">how to create an
interactive possibility — even with 'concordances' of parts of texts or<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">of choreographic pieces.<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria"> </span></p>
<p class="MsoNormal"><span style="font-family:cambria">Send your favorite
movement video (YouTube or etc.) . . .<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">Send your favorite
multimedia use of text . . .<span></span></span></p>
</div></div><div class="gmail_extra"><br><div class="gmail_quote">On Tue, Nov 22, 2016 at 7:28 PM, Murat Nemet-Nejat <span dir="ltr"><<a href="mailto:muratnn@gmail.com" target="_blank">muratnn@gmail.com</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">----------empyre- soft-skinned space----------------------<br><div dir="ltr"><div>But, Michael, are ordinary and imperfect the same thing?<br><br></div>Murat<br></div><div class="gmail_extra"><br><div class="gmail_quote">On Tue, Nov 22, 2016 at 5:47 PM, Michael Boughn <span dir="ltr"><<a href="mailto:mboughn@gmail.com" target="_blank">mboughn@gmail.com</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">----------empyre- soft-skinned space----------------------<br><div dir="auto"><div>Finitude (Agamben) and imperfection are the defining qualities of the ordinary, which, Emerson tells us, we have yet to acknowledge as our condition. Hence we keep screwing up.<br><br>Sent from my iPad</div><div><br>On Nov 22, 2016, at 3:35 PM, Murat Nemet-Nejat <<a href="mailto:muratnn@gmail.com" target="_blank">muratnn@gmail.com</a>> wrote:<br><br></div><blockquote type="cite"><div><span>----------empyre- soft-skinned space----------------------</span></div></blockquote><blockquote type="cite"><div><div dir="ltr"><div><div>Chris, I apologize for the typo. I was writing the introduction six o'clock in the morning since I had to be at Kennedy Airport very early. And I did use "tent" metaphorically, but are you sure it was inside Parish Hall? I remember it being somewhere in the boondocks. Like quite a few others, I seem to have disappeared from the PoPro list a few years ago also. Finally, I attributed my case to bad breath.<br><br></div><div>Yes, perhaps the final struggle is "between algorithm/perfection) & human/imperfection." We should pursue it further on. But in <i>Blade Runner</i>, even the super human androids are imperfect. They must die. That is the pathos of that film, and also perhaps our ultimate salvation. If you have followed the discussions the previous weeks this month, I was talking about the possibility of a poetics of "failure" or "inefficiency" which may be close to what you mean by ?imperfection." We were also discussing about "glitches" in the algorithmic structures. You say that can not be. Do you mean they are impossible or not permitted?<br><br></div><div>What that architect was telling you sounded more like "laziness," an over trust of machines. That's why so many buildings are, as Jean Renoir says, boring.<br><br></div><div>Good beginning. Welcome to Empyre, Chris.<br><br></div><div>Ciao,<br></div><div>Murat<br></div></div></div><div class="gmail_extra"><br><div class="gmail_quote">On Tue, Nov 22, 2016 at 9:46 AM, Funkhouser, Christopher T. <span dir="ltr"><<a href="mailto:christopher.t.funkhouser@njit.edu" target="_blank">christopher.t.funkhouser@njit<wbr>.edu</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">----------empyre- soft-skinned space----------------------<br><div dir="ltr"><div><br><br></div>Murat: nice intro, thanks. I'm humored by your recollection of the St. Marks event. We were, however, definitely at a table in the Parish Hall--though we may as well have been in a tent! Until about 1998 I was often invited to perform at the Poetry Project, but since then, not once! This nearly coincides with when I started teaching in Newark, oddly enough. Being an academic at a middle-class state school has its perks but probably also its downsides (at least in terms of getting gigs at the PoProj).<br><br>We have known each other a long while, had many exchanges & social adventures. I've recorded & produced your work on CD, CD-ROM, etc., etc. & yet after all that there's a typo in my name in the subject line here--which is fine, considering I have no belief in perfection. (& I have never cared about the spelling of my last name, which is already a bastardization of the original--in fact your spelling is true to the original but is not what appears my birth certificate!). From my pov there are only a few things in life that require perfection, one of which is computer code. Thankfully the corporations in charge make it so that most people never have to deal with code, how nice. I had dinner with an architect the other night, who was explaining even his plans didn't have to be perfect (which I thought was strange). Building designs can be imperfect, code can't! So maybe the certainly possible (imo) "exchange" you ask Bruce about is a dialog between algorithm/perfection) & human/imperfection. I like that, something like that, think like that. Towards cyborgian synthesis, yah.<br><br>I believe that we are supposed to start off by posting a statement (& bio?), so OK, here:<br><br>
<p class="MsoNormal" style="margin-left:40px"><font size="4"><span style="line-height:107%"><span style="color:rgb(255,0,0)">Call what I do research. On a couple of occasions I’ve stepped up &
presented books that helped me & hopefully others understand the world of
digital writing from a historical perspective. <i>Prehistoric Digital Poetry </i>(<a href="https://monoskop.org/log/?p=179" target="_blank">https://monoskop.org/log/?p=1<wbr>79</a>), a dozen
years in the making, was done with the intent that it would outlast me. It
will. Most of the time, though, I’m a momentary doer/maker rather than a
sayer... </span><br></span></font></p><p class="MsoNormal" style="margin-left:40px"><font size="4"><span style="line-height:107%"><br></span></font></p><div style="margin-left:40px"><font size="4">
</font></div><p class="MsoNormal" style="margin-left:40px"><span style="color:rgb(255,153,0)"><font size="4"><span style="line-height:107%">Beyond life as poet & multimedia artist I play various musical
instruments, mainly bass (& some voice), in an unnamed completely improvisational
trio, which is such a potent form of expression. This is part of what I had to
say with them last friday, in our first post-election jam:</span></font></span></p><p class="MsoNormal" style="margin-left:40px"><font size="4"><span style="line-height:107%"><br></span></font></p><div style="margin-left:40px"><font size="4">
</font></div><p class="MsoNormal" style="margin-left:40px"><a href="https://soundcloud.com/fnkhsr/edge" target="_blank"><span style="background-color:rgb(255,255,0)"><font size="4"><span style="line-height:107%">https://soundcloud.com/fnkhsr/<wbr>edge</span></font></span></a></p><p class="MsoNormal" style="margin-left:40px"><font size="4"><span style="line-height:107%"><br></span></font></p><div style="margin-left:40px"><font size="4">
</font></div><p class="MsoNormal" style="margin-left:40px"><span style="color:rgb(0,0,255)"><font size="4"><span style="line-height:107%">My work in audio production, documentarian & artistic, started in
the late 80s & continues—I’m a contributing editor at PennSound, &
earlier this year I performed a sound collage at the Whitney Museum’s Open
Plan: Cecil Taylor exhibit (Fred Moten & I also hosted a listening session
at the event).</span></font></span></p><div style="margin-left:40px"><font size="4">
</font></div><p class="m_-8174220977957678173m_288523448551780719m_-7750617728550537315gmail-Default" style="margin-left:40px"><font size="4"><span style="font-family:"calibri",sans-serif"><span style="color:rgb(153,0,255)">Since early this summer I’ve been
working intensively with Chuck Stein, who I’ve known since 1992. We recorded more
than 18 hours of his poetry (a retrospective anthology), phase one of a project
on its way to PennSound (part two will be Chuck reading all of Olson’s <i>MAXIMUS</i>, apparently from back to front).
In 2015 I did a similar project with Peter Lamborn Wilson, recording 600 of his
poems for PennSound (<a href="http://writing.upenn.edu/pennsound/x/Wilson.php" target="_blank">http://writing.upenn.edu/penn<wbr>sound/x/Wilson.php</a>). </span><br></span></font></p><div style="margin-left:40px"><font size="4">
</font></div><p class="m_-8174220977957678173m_288523448551780719m_-7750617728550537315gmail-Default" style="margin-left:40px"><span style="color:rgb(255,0,255)"><font size="4"><span style="font-family:"calibri",sans-serif">About a year ago I was lucky to
get a grant from my employer, NJIT, to fund research in interactive digital
audio (under the title “Expressive and Documentary Interactive Audio in the
Humanities”). I’ve been playing and performing with MIDI (<span class="m_-8174220977957678173m_288523448551780719m_-7750617728550537315gmail-st">Musical
Instrument Digital Interface</span>) since 2010, & recently I invented a
way for my voice to trigger orchestral instrumentation, which was a significant
breakthrough. Haven’t brought this material out of the woodshed yet, though recently
a piece was supposed to be played as part of a program at the Dorsky Museum in
New Paltz that didn’t end up happening as planned. Perhaps I should use the
occasion of this discussion to go public with it.</span></font></span></p><div style="margin-left:40px"><font size="4">
</font></div><p class="MsoNormal" style="margin-left:40px"><span style="color:rgb(0,255,0)"><font size="4"><span style="font-family:"calibri",sans-serif"> Another relevant work to this
part of my life is <i>Funk’s SoundBox 2012</i>,
archiving most of the recordings I made over the course of a year in one
web-app, which was nominated for a 2013 Digital Humanities Award & is
housed at </span><a href="https://web.njit.edu/%7Efunkhous/chercher/home.html" target="_blank"><span style="font-family:"calibri",sans-serif">https://web.njit.edu/~funkhous<wbr>/chercher/home.html</span></a><span style="line-height:107%">.</span></font></span></p><p class="MsoNormal" style="margin-left:40px"><font size="4"><span style="line-height:107%"><br></span></font></p><p class="MsoNormal" style="margin-left:40px"><span style="color:rgb(0,255,255)"><font size="4"><span style="line-height:107%">I guess lastly, for now, I wanted to mention I do a monthly literary
arts radio program on WGXC, community station in Hudson NY (sponsored by a
fantastic organization named Wave Farm). On most occasions local poets come in,
read, & we talk. Gratifying work. Since last October I’ve done programs
centered on Allen Ginsberg, Sam Truitt, Anne Gorrick, Andy Clausen, Pamela
Twining, Bernadette Mayer, Philip Good, Lori Anderson Moseman, Chuck Stein,
Robert Kelly, Joan Rettalack, Cecil Taylor, George Quasha, Rebecca Wolff, Tim
Davis, Amiri Baraka, & Lee Gough. Archives of those programs are available
via <a href="https://wavefarm.org/wgxc/schedule/ya0aha" target="_blank">https://wavefarm.org/wgxc/sche<wbr>dule/ya0aha</a></span></font></span></p>
<p class="MsoNormal"><span style="font-size:12pt;line-height:107%"> </span></p>
<br><br><br><b><span style="font-size:12pt;line-height:115%;font-family:"arial",sans-serif">Chris Funkhouser: author of <i><span class="m_-8174220977957678173m_288523448551780719m_-7750617728550537315gmail-m_4058244845793104823gmail-m_6151933903636320378gmail-publication">Prehistoric Digital Poetry: An Archeology of
Forms, 1959-1995</span></i> (Alabama, 2007), <i><span class="m_-8174220977957678173m_288523448551780719m_-7750617728550537315gmail-m_4058244845793104823gmail-m_6151933903636320378gmail-publication">New Directions in Digital Poetry</span></i> (Continuum, 2012),
<i>Whereis Mineral: Selected Adventures in
MOO </i>(Gauss PDF),<i> </i>the chapbooks <i>pressAgain </i>(Free Dogma), <i>Subsoil Lutes</i> (Beard of Bees), <span class="m_-8174220977957678173m_288523448551780719m_-7750617728550537315gmail-m_4058244845793104823gmail-m_6151933903636320378gmail-publication">and <i>Electro Þerdix</i> (Least Weasel)</span><span class="m_-8174220977957678173m_288523448551780719m_-7750617728550537315gmail-m_4058244845793104823gmail-m_6151933903636320378gmail-publication"></span>. With Sonny Rae Tempest he co-authored and twice staged a "code opera", <i>Shy nag</i>, whose source was the hexadecimal code of a single .jpg image (see <a href="https://web.njit.edu/~funkhous/2015/Shy-nag/shy-nag-info.html" target="_blank">https://web.njit.edu/~funkhous<wbr>/2015/Shy-nag/shy-nag-info.htm<wbr>l</a> for details and documentation). 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. Funkhouser is Professor and Director of
the Communication and Media program at New Jersey Institute of
Technology, a
Contributing Editor at <i><span style="font-family:"arial",sans-serif">PennSound,
</span></i><span style="font-family:"arial",sans-serif">and hosts POET RAY’D YO on WGXC in Hudson</span>, NY.</span></b><br><br><br></div>
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