News from Cuneiform:

Cuneiform Press is pleased to announce the publication of Alan Loney's Meditatio : the printer printed : manifesto with an introduction by Steve Clay of Granary Books.

ALAN LONEY is the author of eight books of poetry; his dear Mondrian, won the New Zealand Book Awards prize in 1977. For several years he edited the magazine A Brief Description of the Whole World; as printer and publisher he has operated Hawk Press, Black Light Press and The Holloway Press. The Writers Group brought out Reading Saying Making: Selected Essays in 2001. Presently Loney lives in Australia.

Robert Creeley writes: "Alan Loney's work has always been at the cutting edge of New Zealand's place in world literature."

As Steve Clay rightfully notes in his introduction, this book is sure to take its place among landmark titles such as Clifford Burke’s Printing Poetry (1980) and Harry Duncan’s Doors of Perception (1983). This book is both essential, and enjoyable reading for book artists, printers and poets alike.

Penny Griffith writes, "Meditatio is a graceful reconsideration of the role of typography in relation to art, the reader, and the world of the book and reading."

This book was produced in an edition of 200, and available for the very reasonable cost of $10.00 per copy (including S & H in the United States. For international orders, please add $3.00.

Order directly from:

Cuneiform Press
383 Summer Street
Buffalo, New York 14213

Thank you for supporting Cuneiform Press and its authors!

More details & images at: http://www.cuneiformpress.com/printer.html
Order at: http://www.cuneiformpress.com/dist.html
Questions: ks46@buffalo.edu
View other new titles from Cuneiform by Robert Creeley, Craig Dworkin, Ron Silliman & Andrew Levy by visiting: http://www.cuneiformpress.com/home.html




Critical Art Ensemble has very publicly and legally performed scientific processes to demystify them and make them accessible to audiences. "Free Range Grains," CAE's latest project, includes a mobile DNA extraction laboratory for testing food products for the presence of genetically modified organisms.

The biotech industry is a very little understood force transforming our lives with almost no public input. In the case of genetically modified agriculture, transgenic crops were approved by the FDA for commercial use in 1994 with no studies on the long term effects on human health and the natural environment, no plan for tracking those effects, no liability for the corporations selling this technology, and no public debate. Slowly over the last decade, US consumers have become aware that all foods containing corn, soy or canola are genetically modified, unless they are labeled organic. Still the majority of the population does not realize they are part of an immense unregulated experiment. There are no labels for these ingredients. When the industry states that there are no studies on these products indicating harm to human health, what they are saying is that there are no studies. The one bona fide independent study conducted did suggest damage to the intestines and other organs of rats. This study basically ended the 36 year career of Dr. Arpad Pusztai at the Rowett Research Institute in Scotland. Days after he spoke publicly of his findings in August 1998, Dr. Pusztai was removed from service, his research papers were seized, and his data confiscated; and he was prohibited from talking to anyone about his research work.

The new corn, soy, canola, and cotton were engineered to resist herbicides sold by the same company selling these seeds and/or to contain a bacteria toxic to pests that feed on the crop. These traits were marketed to produce higher profits for the companies that control them as intellectual property; they were not about nutrition or flavor or even increased crop yield. Claims that the transgenic products would reduce the use of pesticides and herbicides in the field (and incidental claims that they would produce higher yields) have proven to be false.

The equipment that CAE used to test common food products to demonstrate the presence of transgenes has been confiscated by the FBI although field and laboratory tests have shown that it was not used for any illegal purpose, nor is it possible to use this equipment for the production or weaponization of dangerous germs. Furthermore, any person in the US may legally obtain and possess such equipment.

When the Joint Task Force on Terrorism searched Kurtz’s home, he was in the midst of researching the issue of biological warfare and bioterrorism, to assess the actual danger these weapons pose and to bring U.S. policy on such threats into public dialogue. To do this research, he had many books on the subject and had legally acquired three bacteria commonly used as educational tools in schools and university biological departments. One might conjecture that these are the “biological agents” indicated in the charges against Kurtz. They are bacillus globigii, serratia marcenscens and e.coli.

Harmless to humans, Bacillus globigii is extremely common and found easily in samplings of wind-borne dust. BG is safely used in biological studies as a stand-in for pathogenic bacteria. It is used as a biological tracer for anthrax because its particle size and dispersal characteristics are similar to those of anthrax. A household bleach-and-water solution easily kills it.

Serratia marcescens is another harmless, common microbe which lives in soil, water, on plants, and in animals. It is distinguished by bright red color and may grow on bread and other edibles stored in a damp place. Various Christian miracles in which communion wafers seemed to “bleed”, have now been thought to be a result of S. marcenscens.

Because this microbe is so common, because of its bright hue and because it used to be considered benign, scientists and teachers frequently used it in experiments to track microbes and to demonstrate the importance of hand washing. For example, it was used in handshaking experiments in which one person dipped a hand in a broth of S. marcescens and then shook hands with another person who in turn shook the hand of another and so on down the line.

More recently, S. marcescens has been found to be pathogenic in rare cases. Lung or bladder infections have occurred mostly in hospitals in patients who already have a compromised immune system (such patients are much more vulnerable to any bacterial infection). Consequently one might find that it is no longer _recommended_ for use in schools and is not as commonly used to track bacterial movement in the environment. But it is still widely used in educational institutions; for example, I found a webpage of high school student reports on their own experiments using this bacteria. It also can be killed with bleach, which is often recommended by city water departments when customers inquire about the reddish film that may appear in toilets.

[Another detailed account of a high school student working with the same bacteria.]

E. coli, a well-known intestinal flora, is one of the most widely used bacteria in biological laboratories. There are many different strains; some that receive periodic attention in the media are responsible for foodborne illnesses. This is very distant from the particular strain found in Kurtz’s possession. What he had is a variation of the benign form found in our stomachs, which had been even further disarmed by laboratories.

One of the technicalities on which the prosecution may focus is the definition of a biological agent as one that has been _extracted_ from a natural source (bear in mind that is only speculation). Even though the bacteria in question would be easy to collect in any household, the particular samples Kurtz possessed were cultured in a lab and purchased.

The accusations derive from the USA PATRIOT ACT OF 2001, SEC. 817 EXPANSION OF THE BIOLOGICAL WEAPONS STATUTE (H.R. 3162):

“Whoever knowingly possesses any biological agent, toxin, or delivery system of a type or in a quantity that, under the circumstances, is not reasonably justified by a prophylactic, protective, bona fide research, or other peaceful purpose , shall be fined under this title, imprisoned not more than 10 years, or both. In this subsection, the terms "biological agent" and "toxin" do not encompass any biological agent or toxin that is in its naturally occurring environment, if the biological agent or toxin has not been cultivated, collected, or otherwise extracted from its natural source.;”
For an excellent source evaluating the current diversion of public monies into bioweapons research and defense and the consequent militarization of the health system, as well as the disruption of other extremely important immunological research, please see “Bioterrorism Preparedness: Cooptation of Public Health?” By Victor W. Sidel, MD; Robert M. Gould, MD; Hillel W. Cohen, DrPH http://www.ippnw.org/MGS/V7N2Sidel.html

The Council for Responsible Genetics has also produced and collected many papers on the subject: http://www.gene-watch.org/programs/biowarfare.html

See in particular their Boston University Biodefense webpage:

The implications of the current charges against Kurtz, given what we know about the evidence, is that it is illegal for a citizen to possess materials commonly used for research in legitimate institutions everywhere. If we allow the government to call this terrorism the effects will be felt not only by artists, academics, amateur scientists and researchers of all kinds but will exacerbate the chill already being felt by institutional scientific research.

The case of highly respected infectious disease researcher Dr. Thomas Butler has already demonstrated the deleterious effects of unfair and disproportionate persecution of researchers on all scientists. To quote a statement by four Nobel laureates in support of Dr. Butler, “the determination to convict Dr. Butler and put him in jail sends a strong message to the scientific community that runs counter to the best interests of our country and scientific research. It says: this 62-year-old man, who voluntarily reported missing material and cooperated with federal investigators, is now being repaid with a ruined career and a personal cost from which he and his family will never recover. The message says that those scientists most involved in bioterrorism-related research are most likely to be victims of punitive attacks at the hands of federal authorities. We worry that the result will be reluctance to engage in this urgently needed type of research.”

In a time when there is no public authority willing to protect and inform citizens against the interests of corporations (in the case of transgenic agriculture) and when millions of public dollars are being rerouted toward a militarization of public health research, art has become a place where issues can be brought into public light, understood and discussed. Many artists are currently training themselves in science and technological methods in order to better inform audiences of the processes affecting their health, their choices and their lives. These artists are not pretending to be scientists, but they are performing “prophylactic, protective bona fide research” toward educational “or other peaceful purposes” (as stated by H.R. 3162 provisions under which it is legal and permissible for a citizen to possess biological agents).

Researched and compiled by Claire Pentecost


In Honor of Just Buffalo founder, Debora Ott, and poet Robert Creeley

On Saturday, May 1, from 6-9 p.m., Just Buffalo will be honoring founder Debora Ott and poet Robert Creeley with a reception at the Albright-Knox Art Gallery. There are a very limited number of tickets for this special event available at $100 per person. Price includes entry, cocktails and hors d'oeurves, one of Just Buffalo's storied A PICTURE'S WORTH -- A THOUSAND WORDS poetry and art tours with a museum docent and a poet, a limited edition letterpress broadside of Robert Creeley's poem, "Place To Be" and a Greg Halpern photograph. Please call 716.832.5400 for details.
An introduction to a reading by Andrew Levy. SUNY Buffalo, 4.21.04
Thom Donovan

Where the measuring of word counts for everything – their weight and overall dimensionality, their texture clue to the world that brought you to the moment when letters make a world in how they touch, and where one will bring oneself for the purpose of being touched. It doesn’t matter how long it takes. Duration is its name – inside what breaks one’s attention from the love of work, an Anticipation – where every syllable enters your ears as a voice made of many voices – those you’ve most loved and hated. A strange remembrance arranged in the circumstances, the smallest details of inflection reciting again and again, “I don’t know you... I don’t know you... Wait, don’t I know you?”

-- from Levy’s “An Indispensable Coefficient of Esthetic Order”

The angels themselves are prey to this blindness. “Driven out of Abraham’s house,” Levinas writes, “Hagar and Ishmael wandered in the desert. When their water supply was spent, God opened Hagar’s eyes and she saw a well and gave drink to her dying son” (1976b: 260). So far, nothing abnormal, and we wouldn’t expect anything less from a God who is The Good. Still, this generosity aroused some reproach from the divine counselors (or bad aeons) that are the angels: they see farther than the end of their noses and are acquainted with the ruses of history: “The angels protested: Wilt Thou bring up a well for one who will one day make Israel suffer?” God undoes the Hegelian trap: “What does the end of history matter, says the Eternal. I judge each for what he is now and not for what he will become.”

-- from Jean-François Lyotard’s The Differend, (109)

As in Larry Eigner’s canon – and so strange to call his life-work a canon; that least canonized of New American Poets – I have the senses reading from Andrew Levy’s Paper Head Last Lyrics through Scratch Space that these works are continuous and very well could go on indefinitely if only Levy were eternal, immortal (and perhaps he is?). Somewhat recently – perhaps since Barrett Watten’s talk on Eigner at Buffalo -- I have wanted to zoom-out from Eigner’s innumerable books to see his life-work as a kind of giant and, at times, apparently unending scroll. A scroll of rivulet-words unrolling towards a judgement of his world through perceptive grammars which neither foreclose interpretation, pleasure or judgement itself. Again and again we read “birds” and “trees,” we are presented with elemental words, yet the grammar shows the poet always shifting, responsible to perceptive compositional acts, and we, as readers, shift with him.

Early last Fall, among a heap of difficulties and complexities, I attempted to write a piece on “judgement” and “the anecdotal” for Sarah Campbell’s forthcoming publication, P-Que. My attention was turned then towards Charles Reznikoff’s verse, and particularly his volumes, Testimony. All the while the above quoted passage from Lyotard’s Differend stuck with me. If God itself could not judge by some preconceived understanding or apriori historicity how could its angels or creations? This dilemma seems something remarkable about Reznikoff’s work as well as Levy’s insofar as that, in such different ways, both poets put their reader in interpretive circumstances where it would appear they couldn’t help but make certain judgements; and yet those very judgements are made indeterminable by the ways their poems demand to be read.

In Reznikoff’s case it is often that as readers all we have to go on is what seems the fragment of a testimony or testimonies boiled down to limiting information, and for this we are wanting more perspectives, or perhaps more evidence to be admitted. In Levy’s more recent work there is invariably my sense that there is too much evidence -- speech acts and media sources that in their variety and abundance defy any interpretive position by which one could form a judgement: judgements about history, about political forces, about private and public states of address.

However, this last statement would seem to admit a vulgar linguistic-political-cultural relativity that, in the end, I believe to be lacking from Levy’s work. Perhaps through Levy’s work it is as if Reznikoff and Hannah Weiner met to confront what George Oppen called, after Heideggar, “the arduous path of appearance.” Levy’s judgments are not those formed after or in the courtroom, but in Williamsburg, Brooklyn and the East Village. Like Weiner, Levy also acts as a sort of clairvoyant biloquist moving among plural scapes: scapes of hyper-urbanized late-Capitalism, of private and domestic encounter, of the work-place as well as increasingly striated mass media.

Levy does not only see texts on bodies and things (and I hesitate to delimit Weiner’s radiant attentions in such a way) but wherever his environment is – and therefore, he is. And it is not only seeing or recognizing such texts that counts, but also collecting, remembering and shaping such attended language which deliberately and tactically inscribes his reader’s attentions.

For me, Levy’s work is finally not so much like but after Eigner’s imagined scrollwork, or Reznikoff’s testimonial revisions, or Weiner’s clairvoyant journalism, and may only establish in much time, by meetings nursed, how we position ourselves through language and the judgements we are inevitably forced to make to continue using language – for language to continue using us. It is probably only through cosmic duration, through interminability -- a duration we sense God to not even be privy to -- by which any final judgement may be cast.
An introduction to a reading by John Taggart. SUNY Buffalo, 4.7.04.
Thom Donovan

Begin from that image from Andrei Tarkovsky’s The Sacrifice, of the child watering a dying tree, that tree seemingly plucked from a Kurosawa film, intersection of the Eurasian and Japanese: that in Tarkovsky the miraculous is only achieved by quite secular and quotidian accomplishments (the poet who walks a pool’s length with a candle only to have a heart attack at the conclusion of Nostalghia comes to mind; also the water glass moved by telekinesis OR a passing train in Stalker); that in this image from The Sacrifice there is a crucial temporal dimension – the ritual should not be performed once, but many times in repetition to become a significant act of faith. As if Cage’s statement, quite paraphrased: do something once & it may not be interesting; do it 1,000 times over it will very likely become so – were a spiritual prescription.

Also begin from Chris Marker’s dead-on observation about Tarkovsky’s camera: that his camera does not contemplate the sky as in American Westerns, and therefore does not long for the pretended transcendence of such skies; but rather contemplates the earth from the position of something in the sky – his camera is Malevichian.

These two images evoke two aspects of John Taggart’s work I value very much. In terms of the first image: that the poem as a “sound object” only becomes such through ritual durations – the duration of “the loop” (as far as I can tell Taggart’s preferred form for his poems since the late 70’s), which meditatively accretes word combinations and sound structures recombining them towards discrete tests of thought – pre-, post- and present poetic acts.

To think through the poem here is for thought to develop through “recurrence” of word combinations which build sound shapes over phases and periods of time. Taggart’s poems are for me, primarily, spaces of astonishing attention I associate with certain meditative practices and prayer, not to mention the circular breathing of great saxophonists. Meditation thinks, and thinks clearly in Taggart’s poems – spaces are cleared for thinking, clearings are discovered, encountered – by returning, rechanneling words and their combinations since passed, therefore become only liminal to attention. By bringing things back in the loop, the looping lines, one may change there, one changes their minds through addition or subtraction to a combination from the composition’s history, past invariance.

This activity, as Zukofsky affirms throughout his work, and particularly in his “Mantis” and “Mantis: an interpretation” – foundational texts, by the way, for Taggart; this activity constitutes an embodied spiritual practice. The making of a life-work, thinking through a poetics, is only as good as the blood in circulation – recirculating sequences as interest, attention; emotion becoming form.

The second image brings me to what I consider to be a kind of primal scene in Taggart’s work. – namely his encounter with the Rothko Cathedral in Houston, Texas. What he has to say in a recent lecture at Chicago Art Institute is telling:

The Chapel paintings begin with suffering and end with suffering, end with more suffering or with suffering accented, made grave (“deep” -- because ascension/transcendence/any sort of up and away elevator is denied.


What about the passion story? Isn’t it such an event [the event of a tragic mood and not “one single tragic event in history”]? Whatever the facticity of all those splinters of the one true cross, of the shroud of Turin, of individual thorns from the crown of thorns, the event of Christ’s suffering is negated by his ascension/transcendence from a world of history and suffering. The south wall chapel painting negates that negation; it is a black light on a red ground. It keeps the focus on blood, on suffering. Yet no particular narrative moment or figuration is offered.

In Rothko’s chapel as in Taggart’s work we don’t get an easy transcendence, if in fact we get transcendence at all. The poet suffers the care of his craft, his patience. Another image from Tarkovsky finally comes to mind: it is of the Stalker laying in the earth to rest, neither asleep or awake exactly, face pressed in the mud. Transcendence may only come about through the immanence of the created: through bodily affections, the emotional structures of words looping recurrences. Perhaps Taggart’s work ultimately thinks to feel and feels to think the recurrent pulse of thoughtful attention. Care is in a duration which suffers craft. This means to live. To transcend would only then mean to live intensely pulse’s witnessings, thought’s torsions. Love at last beat.


Sunday, April 25, 2004
12 p.m. - 5 p.m.
Karpeles Manuscript Library Museum
453 Porter Avenue
Buffalo, NY

Each poet will read for up to two minutes.
There will also be a few open slots each hour.
Everyone is welcome!
Lisa Forest’s Card Catalogue Project

“Oh, great one, of the duodecimal
reveal your points!” they implore
but the waterfall of numbers
suddenly buries all hope and
though they struggle to preserve
the image of His Face the great
library disappears in the dusty
stones of the streets of Alexandria.

Beatriz Zeller
Enter the Librarians

Situated between the post-digital & the analogue, the post-human & the handmade, artifice & trance—one speaks volumes. Who hears? Who speaks from these leaves left over? Thumb through & consider. Is there a future for the printed word? Will the longstanding blindspot between textual scholarship, bibliographic studies & the library sciences ever recognize their conceptual, poetic & material cohorts? Whose mirror? Or rather, how to look at a book when the book blinks back?

The library
seeks its meaning within.

Lisa Forest’s Card Catalogue Project winks at the blinks between these fragments left to the imagination. As Charles Alexander notes, the life of a book is primarily a closed life. The book lives among others in a private world of words willfully pressed upon one another, safe within the shelter of shelves, sleeves & spines bound between boards. Pound’s assertion that the book should be “a ball of light in one’s hands” flashes back to the illuminated manuscript, while simultaneously flickering forward towards a radiant veil of digital language. Before the intervention, & recalcitrant innovation brought on by emergent streams of multimedia & hypertextual literacy, the definition of the codex was relatively stable. You look bookish.

The cards leapt from their coffin-shaped catalogues into a dustbin of disarray. Fated similarly, they awoke astonished, startled & jumbled from their slumber. As the cards went whirling into history’s hellbox, the record became the image. Got the message, scrap? From the recess of history hurdled back, taxonomy becomes physiognomy as the cards made their respective departures on wild poetic adventures. You look weathered. From discard to the brink of destruction, or from salvation to dissemination, or from reunion to distribution, the textual bodies of these utilitarian creatures has undergone a marked transformation & endure under a different guise.

At the intersection of found language & the thematic allusions inscribed upon each directory (now replaced by its digital counterpart) Forest made it her prerogative to invite an eclectic & internationally renown group of poets, artists, scholars & bibliophiles alike to engage with this detritus as they saw fit. In doing so, these cards now take their place in form among unbound poets’/artists’ books (such as Robert Grenier’s Sentences) while their various palimpsest bodies collectively present an array of linguistic & material procedures & compositions. These cards have been stamped, glued, coloured, inked, typed, stained, collaged, marked, taped, mailed & incised. Taken as a piece, this landmark corpus of poems presents a unique challenge to the mediation of legibility & illegibility, waste & use, convention & invention.

Yet these cards have found further credence in their new home. Each collection of original cards has been reproduced using four color offset lithography & placed in a handmade sleeve within the discarded, & admirably manipulated body of a hardback book. These cards find new meaning, new order & a new audience here. They collectively complicate the discrete relationship between trends in bibliographic signification that have remained relatively idle since the outset of Structuralist theory at the turn of the century, & now rise to speak in an authenticating voice that embraces the swerve (& verve) at the horizon of the discourse & praxis that has emerged as the artists’ book. The self-conscious structure of these book-works defies the very conventions of bibliographic description that would neatly locate themin a catalogue.

Speaking to the myth of solitary authorship & individual authority, The Card Catalogue Project is an admirable collective endeavor, while Forest’s zeal for collaboration, poetic innovation & evolving search for new mediums of aesthetic & bibliographic correlatives returns us to the true position of the curator. Moreover, these cards do not dismay at the emergence of digital technology, & clearly stand apart from the ignorant prophecies of apocalyptic bibliophiles who fear that the medium of print will one day vanish. Invisible inkling. As radical textual variants, these cards resume their role in the digital world alongside their “practical” digital renderings available on line.

I invite you to hold these books, to shuffle these poems, to find new social, historical & poetic order among these leaves. As Mallarmé asserts, “Everything in the world exists in order to end up as a book.” Forest’s project inspires me to ask if everything in the book exists in order to end up in the world?

Kyle Schlesinger
Buffalo, NY
April Fool’s Day—2004
An Evening with Ed Roberson
Reading and Conversation

Friday, April 23, 8 p.m.
Just Buffalo Literary Center

One of the most unique and important poets writing in America today, Ed Roberson is the author of Atmosphere Conditions (Sun & Moon), winner of the National Poetry Series, chosen by Nathaniel Mackey; Just In/ Word of Navigational Challenges: New and Selected Work (Talisman House Press,1998); & Voices Cast Out To Talk Us In (Univ. of Iowa, 1995), winner of the Iowa Poetry Prize.

Lisa Jarnot and Jonathan Link
Friday, April 16, 8 p.m.

Lisa Jarnot is author of Some Other Kind of Mission (Burning Deck), Ring of Fire (Salt) and Black Dog Songs (Flood Editions). Jonathan Link is Managing Editor at Slope Editions and is currently working on an MFA at The University of Massachusetts Amherst.

Stephen Rodefer
Poetry Reading and Slide Show

Friday, April 9, 8pm
Just Buffalo Literary Center

Stephen Rodefer is the author of numerous volumes of poetry including The Knife (1965), The Bell Clerk's Tears Kept Flowing (1978), Four Lectures (1982) and Mon Canard (2000). His translations include the acclaimed Villon (1968). Rodefer was a student of Charles Olson's at SUNY Buffalo and currently lives in Paris, where he is pursuing a career as a painter.
A community gathering of Western New York poets!
Download the flyer here!
Sunday, April 25, 2004
12 p.m. - 5 p.m.
Karpeles Manuscript Library Museum
453 Porter Avenue
Buffalo, NY

Celia White * Joe Todaro * Anna Walsh * Ansie Baird * Ness, Millie * Liz Abbott * Jane Adam * Sean Alexander * Rose Bond * Bob Borgotti * Kastle Brill * David Butler * David Czuba * Martha Deed * Livio Farallo * Tim Galvin * Gino Giangreco * Dianne Gilleece * Ann Goldsmith * George Grace * Taunee Grant * Cairn Hedland * Jean Horohoe * Tony Hughes * Leona Irsch * Sally Jarzab * Norma Kassirer * Rosemary Koethe * Jamie Kubala * David Landrey * Franklin LaVoie * Jae LeBlanc * Ann Levisy * Douglas Manson * Marlyn Martinez-Saroff * Bruce McCausland * Kristi Meal * Michael Meldrum * Marj Norris * Barbara Nowak * Susan Peters * Tom Piccillo * Jude Porter * Penelope Prentice * Janet Reilly * Lynne Rigoli * Ross Runfola * Joanie Russ * Tom SantaLucia * Dan Sicoli * Susan Smith * Carrie Spadter * Bill Sylvester * Jennifer Tappenden * Ed Taylor * Nicole Urdang * Pat Van Remmen * Savannah Wallard * Franklin LaVoie * Karen Lewis * Maureen O'Connor * Michael Fanelli * Jeannine Giffear * Brian Lampkin * Paula Wachowiak * Gunilla Kester *


DMS Digital Media Poetics Series Cyb3rtext Symp0s1um
Friday, April 23, 2004, 1-5 PM, 232 CFA

Performances and Presentations by:
Simon Biggs, Sheffield Hallam University, UK
Sandy Baldwin, West Virginia University
Maria Damon, University of Minnesota
Alan Sondheim, Independent Media Artist

In celebration of the "Ergodic Poetry" section of The Cybertext Yearbook 2003-2004, section editors Loss Pequeño Glazier and John Cayley.

Digital textuality is explored by leading digital artists and theorists in this in-depth exploration of themes at the leading edge of digital technology in the language arts. The Symposium features extensive performances, presentations, and conversations with leading artists and researchers who are authors and subjects of innovative new media practices.

Admission Free

Events will be held in the Center for the Arts (CFA) at the Amherst campus of SUNY Buffalo. No parking permit required after 3 PM. Millersport exit north from I-290. Campus map: http://www.buffalo.edu/buildings/building?id=cfa (Use metered parking until 3 PM)

Presented at the State University of New York at Buffalo by the Dept. of Media Study with support from the David Gray Chair and the Butler Chair, Dept. of English, the Dept. of Media Study Programming Committee, & College of Arts & Sciences Dean's Office.


Check out Silliman's review of Involuntary Vision
Please join us for Normal, the second show of our 2004 season. It is playing March 25-28 and April 1-4, at 8:00pm. If you have any questions feel free to email us at tornspace@hotmail.com.

Play description:

Normal: The Dusseldorf Ripper, was the first major play by Anthony Neilson. It opened at Edinburgh's Pleasance theatre in 1991. The play focuses on serial killer Peter Kurten who terrorized Germany in the early 1930's, and who inspired Fritz Lang's film M. Fresh out of law school, Wehner Justus quickly becomes seduced by images of sex and violence offered to him by Kurten and his wife, the battered and bruised ex prostitute. The setting is at once a penny arcade, a vaudeville circus house, a jail cell, then the mind of the young defense lawyer. The show brings to mind B Horror films, Charles Ludlam's "Theater of the Ridiculous" and fleeting impressions of distilled melodrama all under a carnival tent and all set to an original musical score.

Chris Marker
Tuesday, April 13 @ 8 p.m.
The Eastman House
(CINÉMA DE NOTRE TEMPS: UNE JOURNÉE D’ANDREI ARSENEVITCH, Chris Marker, France 2000, 55 min., video) Pre-eminent cinematic essayist Marker pays homage to the life and work of his friend, legendary filmmaker Andrei Tarkovsky. This fitting tribute contains footage of Tarkovsky working on his final film, The Sacrifice. Plus: REMEMBRANCE OF THINGS TO COME (LE SOUVENIR D’UN AVENIR, Chris Marker/Yannick Bellon, France 2001, 42 min., video) Using still frames as in La Jetée, Marker uses the work of photographer Denise Bellon as a launching pad for diverse topics such as the history of surrealism, the Spanish Civil War, and the birth of the cinematheque. Elvis Mitchell in The New York Times called it “The most unforgettable film of any length you will see this year!”


The Elevator Stops Here: Installation Art at the Top of City Hall

Artists: Jay Ariaz, Swati Bandi, Robin Brasington, Soyeon Jung, Caroline
Koebel, Paul Lehnen, Tom Leonhardt, Julie Perini, Leah Rico, Carolyn
Tennant, Jung Heum Whang

Opening Reception: Wednesday April, 14, 4-8PM
Exhibition Hours: Thursday, April 15, Noon-8PM
Friday, April 16, Noon-8PM
Saturday, April 17, 10AM-1PM

City Hall is located at 65 Niagara Square in downtown Buffalo, New York
Take elevator to the 25th floor

Contact: Caroline Koebel
Assistant Professor, Department of Media Study
University at Buffalo, SUNY
Phone: (716) 645-6902 ext. 1482
Email: cgkoebel@buffalo.edu

This project is a production of the Department of Media Study at SUNY
Buffalo in cooperation with the City of Buffalo.

Additional info:
I hope you'll join us for what the readers themselves think is a momentous
event! Nicole Markotic (from Calgary, Alberta), Erin Moure (from Montreal,
Quebec) and Lisa Robertson (originally from Vancouver, BC and now living in
Paris) will be together...here in beautiful Buffalo...for one day only! not
to be missed! it's huge! etc.etc.

P A N E L D I S C U S S I O N : "Transcription, Archive, Genesis: Three
Women at Work in Poetry", 4pm Poetry Rare Books

R E A D I N G S : 8pm Rust Belt Books, 202 Allen Street


Nicole Markotic lives in Calgary, Alberta and she is a founding member and
editor of disOrientation, and Secrets from the Orange Couch. Markotic now
teaches creative writing, 20th century poetry and poetics, and contemporary
literary theory at the University of Calgary. Markotic's chapbook, More
Excess, won the prestigious 1998 bp Nichol Chapbook Award. The chapbook can
be found as a section in Minotaurs and Other Alphabets.

Eirin Moure lives in Montréal, where she is also known as Erin Moure. One
of Canada's most respected poets, Moure has published ten books of poetry,
including A Frame of the Book (or The Frame of a Book), which was
co-published in the U.S. by Sun and Moon Press. Her work has received the
Governor General's Award and the Pat Lowther Memorial Award, and she has
translated the work of Québec poets Nicole Brossard and Cynthia Girard
(with Robert Majzels), French poets Sébastien Smirou and Christophe Tarkos,
and the Chilean poet Andrés Ajens.

Lisa Robertson lived in Vancouver for twenty-odd years and is now living in
the nineteenth arrondisement. Her books of poetry include The Apothecary,
XEclogue, Debbie: An Epic, and The Weather. Just out from Clear Cut Press
in Fall 2003 is Occasional Works and Seven Walks from the Office for Soft
Architecture, a linked series of essays on cities, architecture and
ornament. She moonlights as an astrologist for Nest: a Quarterly of
Interiors under the pen name Swann.


Now available online!

We're pleased to announce that the talk Barrett Watten gave in Buffalo on August 29th 2003 is available in a more user-friendly version on Watten's homepage.


ANNOUNCING The Card Catalog Poetry Project / ecopoetics 03
Double Launch Party and Reading
March 27, 2004
8:00 p.m.
Just Buffalo Literary Center, Hibiscus Room
2495 Main Street (Tri-Main Building)
Admission free, books for sale
A collection of poems written on discarded library catalog cards, featuring Rosa Alcala — Christopher Alexander — Brendan Bannon — Michael Basinski — Joel Bettridge — Junior Burke — Sarah Campbell — Jack Collom — Brenda Coultas — tatiana de la tierra — Richard Deming — Dan Featherston — Lisa Forrest — Graham Foust — Kristen Gallagher — Gordon Hadfield — Michael Kelleher — Nancy Kuhl — Douglas Manson — Rachel McCrystal — Maureen Owen — David Pavelich — Peter Ramos — David Reed — Anna Reckin — Emile Sabath — Kyle Schlesinger — Eleni Sikelianos — Jonathan Skinner — Jane Sprague — Sasha Steensen — Roberto Tejada — Karen Yacabucci.

“A cabinet for sages built / Which kings might envy” William Wordsworth, The Excursion, 1888
~~This project made possible by a generous grant from the School of Informatics, University at Buffalo~~

ecopoetics 03

Readings from featured contributors of ecopoetics 03: Lisa Forrest, Eric Gelsinger, Douglas Manson, Florine Melnyk, Isabelle Pelissier, Allen Shelton, Jonathan Skinner, Jane Sprague, Sasha Steensen, Damian Weber
Oh man! We've got a hot night in store for you!!

Eli Drabman
Cuneiform Press
Atticus Finch

This Tuesday, April 6th Cuneiform and atticus/finch will celebrate the release of two new books of poetry at Soundlab. Kyle Schlesinger and his Cuneiform Press will praise hotly and deeply Ron Silliman's "Woundwood," while Michael Cross (in matching celebratory regalia) will sing songs of worship in the general vicinity of Cynthia Sailers' "Rose Lungs."

AND, as if that weren't enough, Eli Drabman (incoming Poetics candidate extraordinaire) will be in attendance to say hello and read from his new poems.

&nd then, and then, dancing! drinking! general reverie! Kyle will perform his now infamous rendition of 'Pour Some Sugar on Me"! If asked politely, Thom Donovan may even perform his Axel Rose impersonation! Need I say more!!!!!!!!!!!!!!!!!!!!!!!

(Kyle's comment)

But hold on Michael - there's more!

With the purchase of each beverage, your name will be entered into a raffle. Drink and enjoy these fabulous and exciting prizes!!!!

The Down Low:

Tuesday April 6th (Next Week!)
Soundlab 9pm
110 Pearl Street
Free Parking!
Free Admission!

See the shiny NEW Soundlab!
Support yr. local presses!
Sample Eli's latest works!
Get down with your bad self!

Its Sprung!
ANOTHER Poetry Triathlon. THIS FRIDAY: March 26th, 8:00

Please don't tell me that you've had enough
poetry this week / month / year.

Poetry with extra enjoyability featuring:

Matthew Klane

Jeffrey Sirkin

Kevin Varrone

THIS FRIDAY: March 26th, 8:00
Graciously hosted by Ben and Lori


Writers Making Film
curated by Caroline Koebel
Free & Open to the Public
16mm Film Screening: Un Chant D'Amour & The Seashell and the Clergyman
Wednesday, March 24, 4PM, Center for the Arts 112, UB North Campus, Buffalo

Un Chant d'Amour Written & directed by Jean Genet, France, 1950, 26 min.

Suppressed in France for twenty years.

Seized by the NYPD, 1964.

Banned in Berkeley, California, 1966.

Condemned by the U.S. Supreme Court.

Denounced in the 1970s by Jean Genet himself.

"There is a close relationship between flowers and convicts."
--Jean Genet, The Thief's Journal

"Prison serves no purpose."
--Jean Genet, Intro. to Soledad Brother: The Prison Letters of George

The Seashell and the Clergyman (La Coquille et le Clergyman)
Directed by Germaine Dulac, Written by Antonin Artaud, France, 1928, 39
min. (18 fps)

Provoked a riot led by Surrealist André Breton upon its premier in Paris,
1928. Demonstrators cried, "Madame Dulac is a cow!"

Dismissed by Ado Kyrou in 1953 as a "FEMININE film."

Denounced for thirty-four years by Georges Sadoul, who then called it a
classic of Surrealist cinema.

Banned by the British Board of Censors.

"I will not seek to excuse the screenplay's seeming incoherence by the easy
loophole of dreams."
--Antonin Artaud, Cinema and Reality

"The sensitivity of the filmmaker can be expressed through the superimposition of light and movement, the vision of which will move the soul of the spectator."
--Germaine Dulac, The Essence of Cinema

Sponsored by the McNulty Chair, the Melodia E. Jones Chair, the Gray Chair,
the Art Dept., and the Dept. of Media Study.

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