Nick Sturm Responds to Frances Richard’s “Tiny Microphone”

644273_10151308846202856_1379240345_nFrances Richard’s “Tiny Microphone” begins with an echo (she speaks into the mic) of Eliot’s Four Quartets, “then I said to my soul,” followed by significant white space and, amid the silence, a chain of 45 commas, followed by more space, then, “and my soul said I canopy language[.]” Here, the saying to the soul seems to be its making, or unmaking, in and through textuality. Using not only words, but the entire semiotic system, as comma chains recur throughout the poem, doing exactly what commas do, separating, but also creating “pure” chains of separation, separation that separates only the signification of separation, separating nothing. Representing nothing (portions of the human DNA sequence are empty, do nothing). But not nothing. Never empty. Comma comes from the Greek komma, “something cut off.” So in these comma chains there is an excess of elsewhere. Elsewhere in language, Richard’s “langurage,” an amplification of excess from inside, now isolated, multiplied, and broken out, a consonant added, anarching.

Like if you watch this video of sea foam attacking and attaching itself to this Austrailian town while you listen to this Henri Chopin recording, you get “langurage.”

Sea Foam Attack: https://www.youtube.com/watch?v=-dvEmroCHXs

Henri Chopin video: http://www.youtube.com/watch?v=OJXYqAim3ks

[Open these videos in different windows, mute the audio on the video of the attacking sea foam, start the Henri Chopin at 1:20, watch the sea foam infection video with Chopin as its audio.]

Much of the magic in Anarch is in how it recodes multiple systems, liquidates their terminologies, tones, and textures into itself: biogenetics, economics, sex, tectonics, politics, aesthetics,,,,,,,,,,,,,,,,,.

In “my soul said I canopy language” we get exactly this concept of overarching absorption, but the line also rattles with an echo, “my soul said I can occupy language[.]” To be both in, infecting, and crowning over, contradicting, both as a means of transmuting and building on. This is the oxymoron of Richard’s “rhizomatic gist,” that decentralized network of growth that retains an essence. But how? How: through “susurrus, crack”: that murmuring, tear. As Richard writes, “a problem arose / with exquisite beauty[.]” There is a jammed path, tensions in the static. The problem is how everything won’t stop expanding, splitting. Under translation. In bodies. Richard’s tectonics ruin the purity of all acropolises, “not a free force / on the high place[.]” In “Tiny Microphone” we’re all in noise, bugged. Becoming, who knows, and what? In a hole of consciousness “I could hear the freeway / gathered[.]” Anarch takes in silences, using them to build. But how to give silence a surface?

Like if you watch this video of lava flowing while you listen to this mash-up Christian Hawkey made from portions of silences in recordings of John Ashbery readings, you get those surfaces made of melting betweenness. As Richard writes, “and tenderly the / plethora / occurred more[.]” Put this on record (record it): I can’t look away from what’s growing in Anarch.

Lava: https://www.youtube.com/watch?v=XQVBBdFY8pk

Ashbery Silence: http://media.sas.upenn.edu/pennsound/authors/Hawkey/Hawkey-Christian_Ashbery-project.mp3

[Open in different windows and watch lava video (there’s no audio in it) while listening to the Ashbery silences.]

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erica lewis Responds to Frances Richard’s Anarch.

644273_10151308846202856_1379240345_nThe following is an excerpt from a larger conversation between Anarch. and erica lewis’s own the precipice of jupiter (P-Queue/Queue Books, 2009), translated graphically, where the larger text indicates language from Anarch. and the smaller text language from jupiter.

anarch_futurepost_lewis-1anarch_futurepost_lewis-2anarch_futurepost_lewis-3anarch_futurepost_lewis-4anarch_futurepost_lewis-5anarch_futurepost_lewis-6

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The Next Big Thing: Frances Richard

We have Futurepoem author Frances Richard with her entry in the self-interview for authors with forthcoming publications, The Next Big Thing. In her case, she’s talking about her new book, Anarch., just recently published from Futurepoem. Buy the book, here, and check out her interview, below.

The Next Big Thing: Frances Richard

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Satellite Reception: Stephanie Gray’s “Collectible Holographic(s)”

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still from “Collectible Holographic(s)”

User: Happy Valentine’s Day, Cleverbot.

Cleverbot: Relative to what?

Oh, Cleverbot. How droll.

Today, we have a post from dynamo/filmmaker Stephanie Gray, who debuted a new 8mm film, Collectible Holographic(s), at the most recent Futurepoem Presents. Check it after the jump.

On Filmic-ly Collecting Alan Gilbert’s “Collectible Holographic(s)”:

Making a super 8 film inspired by connections of disparate, yet connected poetic phrases in Gilbert’s “Late in the Antenna Fields”

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still from “Collectible Holographic(s)”

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The Next Big Thing: Rachel Levitsky

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In a quick break from our “Satellite Reception” posts, we have Futurepoem author Rachel Levitsky with her entry in the growing, viral self-interview for authors with forthcoming publications, The Next Big Thing. In her case, she’s talking about her new book, The Story of My Accident is Ours, coming soon from Futurepoem. Check it out below.

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Satellite Reception: Tyler Flynn Dorholt’s “Transdermal Express”

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still from “Transdermal Express”

Up first in this series collecting some of the performances and films from our most recent installment of Futurepoem Presents is Tyler Flynn Dorholt, who shot and edited a short film, “Transdermal Express,” based off of the work of Futurepoem author, Alan Gilbert. Check it, after the jump.

ON RECALLING THE MAKING OF THAT

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still from “Transdermal Express”

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Satellite Reception: Notes from Alan Gilbert’s Antenna Fields

On January 4th, Futurepoem, in collaboration with The Poetry Project, presented a celebration of the poetry and poetics of Alan Gilbert’s Late in the Antenna Fields. With this event, we wanted to arrange an immediate chronology of sorts with the influences and the influenced – offering short performances, demonstrations, and films that were connected to the poetics of Late in the Antenna Fields. Over the next few days, Futurepost will be featuring a few of the artists from the most recent installment of Futurepoem Presents, writing on their processes and the connection of their work and Late in the Antenna Fields.

Stay tuned,

Futurepoem

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