[-empyre-] Welcome Jim Andrews re: Electronic Poetry

[Christina McPhee <christina112@earthlink.net>]

Greetings -empyreans-

 
> Art is dead
> but sneaks out for fun.
> 
> Art is invisible:
> look at the paintings.
> 
> Art is dead.
> Accept no substitutes.
> 
> A surd and scream;
> black flower,
> moon
> sun
> above.
> 
> Art is dead
> except where strictly prohibited.
> 
> Art is invisible,
> slips past the borders.
> 
> (Jim Andrews, from Sequence <http://vispo.com/animisms/sequence/sequence.html>
1995)


Throw some threads through skeins of electronic poetry with Jim Andrews (CA)
(May 1-15). Australian poet and editor Hazel Smith will join us following
May 15 as guest (see below for details).



Last week Jim and I were exchanging some emails about 'posthuman'.

He wrote

> What is it to be 'post human'? It is to be human and both enlarged and
> diminished by our prostheses of the body, senses, and mind. Part of what
> digital art is about is getting the blood flowing through these prostheses so
> that they are capable of feeling, articulation, full human insight and can be
> used to sense the world with the complexity of touch, and we read with them as
> feelingly as we read each other's faces.


-empyre-,  tangled in " Knotted and Strangled " threads of language and
language anxieties,  reminds me of Caliban the monster who wants liberation
in "The Tempest". 

Is electronic poetry a monster? Embodied in the digital?  Delicious and
strange thoughts: Jim continues,

> We are embodied and it is essential to our world view, to our joy, our pain,
> our vulnerability, our hopes, life, and death. If we lose 'touch' with our
> embodiment we lose touch with ourselves and with others and their pain and
> joys, and hopes and aspirations, our shared mortality. And thereby also our
> wisdom, empathy, self understanding, and breath.

Programming, language, poetics, forcefields of touch: go for it.






Christina 


----------------------------------------------------

Jim Andrews : bio



Jim has published <http://vispo.com> since 1995. It's the centre
of his work as a writer, programmer, critic, visual and audio guy. His work
typically focuses  on language, drawing it into relation with other media,
other arts, and programming. He conceives reading and writing as activities
synthetic through media, arts, and programming. His interactive audio work
NIO opened on turbulence in 2001 <http://turbulence.org/Works/Nio>


Some work:

Writings: <http://vispo.com/writings> (mostly on art and technology,
1988-2003)
Interactive audio: <http://vispo.com/vismu> (various works, 1999-2003)
Nio: <http://turbulence.org/Works/Nio> (interactive audio, 2001)
Arteroids: <http://vispo.com/arteroids> (literary game, 2002-3)
Paris Connection: <http://vispo.com/thefrenchartists> (critical media,
2003)
Windows For Shockwave: <http://vispo.com/software> (commercial tool,
2002-3)
Animisms: <http://vispo.com/animisms> (DHTML, Java, and Shockwave,
1996-2003)


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 Preview:  Hazel Smith (May 16-31)

works in the areas of poetry, experimental writing, performance, multi-media
work and hypertext, online at <www.australysis.com>  She has published two
poetry volumes, the most recent of which is "Keys Round Her Tongue: short
prose, poems and performance texts", Soma Publications, 2000. A theorist in
literature, performance and hypermedia, she edits InfLect, a multimedia
journal that launches this month at <http://www.ce.canberra.edu.au/inflect>