tag:blogger.com,1999:blog-35233779207897504822024-03-15T00:18:39.317-07:00THE NEXT OBJECTIVISTS"I prefer to begin with a consideration of effect." Edgar Allan PoeNext Objectivistshttp://www.blogger.com/profile/17892004885586143465noreply@blogger.comBlogger74125tag:blogger.com,1999:blog-3523377920789750482.post-35855451597248391112014-12-05T08:45:00.001-08:002014-12-05T08:45:35.301-08:003 upcoming events featuring Next ObjectivistsThe workshop has been on hiatus, but while we wait for momentum to seize
us again, here are three events in the next few days that feature work
by members of the workshop & are guaranteed to be of interest. I
hope to see you there!<br /><br /><b>Saturday December 6th at 7:00pm:
</b><br />
<div style="margin-bottom: 0in;">
<b><span style="color: #990000;">Absinthe & Zygote Reading</span> @
Uncharted Books in Logan Square</b></div>
<div style="margin-bottom: 0in;">
featuring</div>
<div style="margin-bottom: 0in;">
Andra Rotaru, who is visiting from
Romania, </div>
<div style="margin-bottom: 0in;">
Johannes Göransoon, </div>
<div style="margin-bottom: 0in;">
Jennifer Karmin,</div>
<div style="margin-bottom: 0in;">
Anca Bucur, who will presenting
remotely from Bucharest, &</div>
<div style="margin-bottom: 0in;">
Gene Tanta, who will be reading from
his ongoing anthology of contemporary Romanian poetry.</div>
<div style="margin-bottom: 0in;">
I hope you'll join us! Facebook event
is <a href="https://www.facebook.com/events/368278053331673/" target="_blank">here</a>.</div>
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<br />
</div>
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<br />
</div>
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<b>Sunday December 7<sup>th</sup>, 1-4pm:</b></div>
<b>
</b><b><span style="color: #990000;">Irina Botea <i>Phalanstère</i></span></b>@ Julius Caesar
Gallery<br />3311 W. Carroll Ave. Chicago, IL
60624<br /><a href="http://www.juliuscaesarchicago.net/" target="_blank">http://www.juliuscaesarchicago.net/</a><br /><br />Irina
Botea's video installation at the Julius Caesar Gallery essentially
embeds Charles Fourier's concept of a phalanx, adapted to the
Romanian context by Teodor Diamant and Manolache Balaceanu in
the early 19th century.<br />
The phalanx in Scaeni was the second phalanx in the world (after
the initial project in France); a project based upon socialist
utopian theories of self-contained community structures. Due to the
recent political history of Romania such ideas have been constantly
reassessed and discussed, at times both praised and vilified in equal
measure; depending upon dominant political ideas.<br />
The film presents the local high school history teacher Iovan
Sorin discussing the history of the phalanx at two different
locations in Scaeni: the town's cultural centre and the
void which previously contained the actual physical phalanstère<b>.</b><br />
Scaeni currently finds itself situated in-between the almost
forgotten history of the phalanstère and the noticeable
presence the Statue of Liberty, a copy of which was installed in June
2014 by Cristian Petru Balan.<br />
The show is open for 4 Sundays,
ending on December 7. Last chance!
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
<b>Wednesday December 10<sup>th</sup>,
7pm:</b></div>
<b>
</b><div style="margin-bottom: 0in;">
<b><span style="color: #990000;">“Lunch Buttons,” <span style="color: black;">a </span></span>performance
event that celebrates and explores <i>Tender Buttons</i> at 100 and
<i>Lunch Poems</i> at 50</b></div>
<b>
</b><div style="margin-bottom: 0in;">
@ Beauty and Brawn Art Gallery &
Think Space<br />3501 W. Fullerton Ave.<br />Chicago, IL 60647<br /><br />free
and open to the public</div>
<div style="margin-bottom: 0in;">
<i>Tender Buttons</i> by Gertrude Stein
is an essential Modernist masterpiece that manifests an experimental
sensibility in prose poetry. <i>Lunch Poems</i> by Frank O'Hara is a
groundbreaking collection that shows O'Hara at the peak of his
powers, while capturing vivid images of New York City in the
early/mid-1960s. Among the readers will be workshop members Radu Dicher & Matthias Regan.</div>
Next Objectivistshttp://www.blogger.com/profile/17892004885586143465noreply@blogger.com8tag:blogger.com,1999:blog-3523377920789750482.post-13696243733949968192014-09-22T08:55:00.003-07:002014-09-22T08:55:21.541-07:00TWO PERFORMANCES OF COLLABORATIVE POEM about FERGUSONAttention Next Objectivsts & Interested Parties<br />
<br />
The workshop will be performing two variations on "Made in the USA," or collaboratively written and performed PUBLIC POEM about events in Ferguson.<br />
<br />
Please join us, as participant, observer or participant-observer @ the following venues:<br />
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<a href="https://www.facebook.com/pages/Red-Rover-Reading-Series/198562136827206" target="_blank"><b><span class="aqj"><span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">Red Rover SeriesExperiment #79: Ferguson Goddam</span></span></b></a></div>
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<![endif]--><span class="aqj"><span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">Sunday, 12 Oct. 4-6pm</span></span></div>
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<b><a href="http://www.borderbend.org/blog/powellsbooks" target="_blank"><span class="aqj"><span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">ChicagoCalling Festival</span></span></a></b></div>
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<span class="aqj"><span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">@ Powell’s Books, 1218 S. Halsted St.</span></span></div>
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<span class="aqj"><span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">Events are free, open to the public. Remember: it's never too late to join the Next Objectivists. Send a messageto nextobjectivists@gmail.com if you'd like to participate!</span></span></div>
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Next Objectivistshttp://www.blogger.com/profile/17892004885586143465noreply@blogger.com2tag:blogger.com,1999:blog-3523377920789750482.post-52251931722549756852014-09-05T10:36:00.001-07:002014-09-05T10:36:07.136-07:00NEXT OBJECTIVISTS @ ARMITAGE ARTS FESTIVAL Sat. 6 Sept. <b>The <span style="color: #990000;">Next Objectivists</span> will be </b><b>will be performing a collectively written & read poem, "Made in the
USA" at 8pm at Rosa's Lounge as part of the Armitage Arts Festival.</b><br />
<b> </b><br />Here is the full schedule of events for this one-day festival:<br /><br />
<ul>
<li>We're stoked about <span class="" data-term="goog_193963656" tabindex="0"><span class="">tomorrow's</span></span> <a href="http://cts.vresp.com/c/?BorderbendArtsCollec/3dc2fd4310/c609666e5c/1d1fdf5003" target="_blank">Armitage Arts Festival</a>, which kicks off at the <a href="http://cts.vresp.com/c/?BorderbendArtsCollec/3dc2fd4310/c609666e5c/7ba3a78ef6" target="_blank">Segundo Ruiz Belvis Cultural Center</a> (<span class="" data-term="goog_193963657" tabindex="0"><span class="">1-3 p.m.</span></span>), moves to <a href="http://cts.vresp.com/c/?BorderbendArtsCollec/3dc2fd4310/c609666e5c/9f0124c521" target="_blank">Mozart Park</a> (<span class="" data-term="goog_193963658" tabindex="0"><span class="">3-6 p.m.</span></span>), then to <a href="http://cts.vresp.com/c/?BorderbendArtsCollec/3dc2fd4310/c609666e5c/466c9d983b" target="_blank">Weegee's Lounge</a> (<span class="" data-term="goog_193963659" tabindex="0"><span class="">6-8 p.m.</span></span>), and finishes up at <a href="http://cts.vresp.com/c/?BorderbendArtsCollec/3dc2fd4310/c609666e5c/cc31375cc3" target="_blank">Rosa's Lounge</a> (<span class="" data-term="goog_193963660" tabindex="0"><span class="">8 p.m.-2:30 a.m.</span></span>).
Live blues and jazz, poetry readings, painting in performance, a
zine-making workshop, an art installation, flag-making with native dyes,
and a capoeira demonstration are some of the things you can experience
at the festival. Hope to see you at the fest! </li>
<li>The fall term for the <a href="http://cts.vresp.com/c/?BorderbendArtsCollec/3dc2fd4310/c609666e5c/254524161b" target="_blank">Chicago Heroes & Arts Journeys</a> workshop series at Mozart Park resumes in a few weeks. You're invited to <a href="http://cts.vresp.com/c/?BorderbendArtsCollec/3dc2fd4310/c609666e5c/bddfea88a4" target="_blank">register for the upcoming term</a>. Join
us as we continue with this series' music making, creative writing,
visual art making, and presentations and conversations about Chicago's
history and identity. </li>
<li><a href="http://cts.vresp.com/c/?BorderbendArtsCollec/3dc2fd4310/c609666e5c/f247e388be" target="_blank">The 2014 Chicago Calling Arts Festival</a> begins on <span class="" data-term="goog_193963661" tabindex="0"><span class="">September 26th</span></span>, including <a href="http://cts.vresp.com/c/?BorderbendArtsCollec/3dc2fd4310/c609666e5c/8e25b9f5af" target="_blank">Myth/Science Dubcology</a> at the Experimental Sound Studio, <a href="http://cts.vresp.com/c/?BorderbendArtsCollec/3dc2fd4310/c609666e5c/3e93a81ed2" target="_blank">a concert at the Haitian American Museum of Chicago</a>, a Banned Books Week event at City Lit Books, an interfaith concert at the <a href="http://cts.vresp.com/c/?BorderbendArtsCollec/3dc2fd4310/c609666e5c/68edc7a17f" target="_blank">Baha'i Temple</a>, a performance event at SRBCC, and more. </li>
</ul>
<b>We hope to see you there!!! </b><br />
<b></b>Next Objectivistshttp://www.blogger.com/profile/17892004885586143465noreply@blogger.com2tag:blogger.com,1999:blog-3523377920789750482.post-48155969316618297722014-08-06T06:54:00.004-07:002014-08-06T06:54:56.375-07:00BEACH TERM: August & Sept<b>Attention Next Objectivists & Fellow Travellers</b><br />
<b> </b><br />
After a summer hiatus, we resume our regular schedule, every other Thursday evening. We plan to meet on:<br />
<div style="margin-left: 40px;">
<span style="background-color: white;"><span style="font-size: medium;"><span style="color: #20124d;"> </span></span></span></div>
<div style="margin-left: 40px; text-align: center;">
<span style="font-size: medium;"><span style="color: #20124d;"><span style="background-color: #f1c232;">August 7<br />
August 21<br />Sept. 4<br />Sept. 18</span></span></span></div>
<div style="margin-left: 40px;">
<br /></div>
All meetings will begin @ <span style="font-size: medium;"><b>7:00 pm</b></span>. <br /><br />We will meet <span style="color: #990000;"><b>ON THE BEACH in Rogers Park</b></span>.
Specifically, we will be near the water a few yards north of Pratt
Street. Follow Pratt all the way east. It dead-ends @ the beach.
Slightly north is a concrete breakwater that runs out to a little
lighthouse. Walk down the breakwater until you reach the water on your
LEFT (past the grasslands). We'll be where the grass ends & the
beach begins.<br />
<br /><span style="font-size: medium;">P</span>lease <b><span style="color: #990000;">BRING A POEM</span></b>
by someone else. What have you been reading this summer? Bring a
notebook & pencil as well, as we may attempt some kind of collective
writing project. <br /><br />(PS:
In case of rain, as in it's really raining not just looking like rain,
we'll probably convene at our favorite neighborhood bar, Cunneen's, on
Devon. Next Objectivistshttp://www.blogger.com/profile/17892004885586143465noreply@blogger.com0tag:blogger.com,1999:blog-3523377920789750482.post-68677182548199257312014-05-12T17:23:00.005-07:002014-05-12T17:23:46.612-07:00We Meet this Wednesday @ Mozart Field HouseWe meet this<b> </b><span style="color: #cc0000;"><b>Wednesday 14 May 6-8pm at <a href="http://www.chicagoparkdistrict.com/parks/Mozart-Park/#.U10UV6JnDPs" target="_blank">Mozart Field House</a></b></span> (<span><span><span>2036
N. Avers Ave.). It's a beautiful neighborhood, a lovely park &
field house. Nice big room with a screen for the projecting & a
piano for the playing.<br /></span></span></span><span><span><span>We
will continue/begin our exploration of irony &: sarcasm in poetry.
BRING IRONIC POEMS! BRING SARCASTIC POEMS! Your own & those by
others. We are making a collection.<br /></span></span></span><span><span><span>We
may also begin to edit, or at least think about, the texts we gathered
at the truly lovely reunion/writing at the movies event last Tuesday.<br /></span></span></span><span><span><span>We
may also make music; last time, we ended up in an extended jam session.
That often happens when the Borderbend Arts Collective is around. So
please feel free to BRING MUSICAL INSTRUMENTS. <br /></span></span></span><span><span><span>See you at <span style="color: #cc0000;"><b>the Next Objectivists</b></span>!<br /><i><b>Because you never know what's coming next. . .</b></i></span></span></span>Next Objectivistshttp://www.blogger.com/profile/17892004885586143465noreply@blogger.com0tag:blogger.com,1999:blog-3523377920789750482.post-26856141622491212272014-05-06T06:49:00.004-07:002014-05-06T06:49:38.643-07:00Upcoming Events<div>
<b>Our Spring Semester begins!</b> </div>
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Please join us as one or both of these events, which are <b>free & open</b> to the public:<br />
<br /><span style="color: #cc0000;"><b>Tuesday 6 May 6-8pm <a href="http://www.three-walls.org/" target="_blank">Three Walls Gallery</a> </b></span>(119 N. Peoria) The Next Objectivists join film maker<span style="font-weight: normal;"><a href="http://www.three-walls.org/exhibition/irina-botea/" target="_blank"> Irina Botea</a> @ her show, <b>It is now a matter of learning hope</b>. We invite YOU to join us as we<span style="color: #cc0000;"> rewrite these films into objectivist poetry</span>. </span><br />
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<span style="color: #cc0000;"><b>Wednesday 7 May 6-8pm <a href="http://www.chicagoparkdistrict.com/parks/Mozart-Park/#.U10UV6JnDPs" target="_blank">Mozart Field House</a></b></span> (<span><span><span>2036 N. Avers Ave.) The Next Objectivists team up with <a href="http://www.borderbend.org/" target="_blank">Borderbend Arts Collective</a> to present four writing workshops on four consecutive Wednesdays this May! <span style="color: #cc0000;">The
first workshop is devoted to "engaged irony." Bring poems or other
written passages that exemplify irony, sarcasm, and similar kinds of
anti-sincerity.<br />
<span style="color: black;"></span></span></span></span></span><br /><span style="color: #cc0000;"><b>Wednesday 14 May 6-8pm <a href="http://www.chicagoparkdistrict.com/parks/Mozart-Park/#.U10UV6JnDPs" target="_blank">Mozart Field House</a></b></span> (<span><span><span>2036 N. Avers Ave.) Topic TBA (Our conversations are determined by whoever shows up, so come to a workshop and put your questions on the agenda!)</span></span></span></div>
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<br /><span style="color: #cc0000;"><b>Wednesday 21 May 6-8pm <a href="http://www.chicagoparkdistrict.com/parks/Mozart-Park/#.U10UV6JnDPs" target="_blank">Mozart Field House</a></b></span> (<span><span><span>2036
N. Avers Ave.) Topic TBA (Our conversations are determined by whoever
shows up, so come to a workshop and put your questions on the agenda!)</span></span></span></div>
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<span><span><span> </span></span></span></div>
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<span><span><span><span style="color: #cc0000;"><b>Wednesday 28 May 6-8pm <a href="http://www.chicagoparkdistrict.com/parks/Mozart-Park/#.U10UV6JnDPs" target="_blank">Mozart Field House</a></b></span> (<span><span><span>2036
N. Avers Ave.) Topic TBA (Our conversations are determined by whoever
shows up, so come to a workshop and put your questions on the agenda!)</span></span></span> </span></span></span></div>
<span><span><span><span style="color: #cc0000;"><span style="color: black;"></span></span></span></span></span>Next Objectivistshttp://www.blogger.com/profile/17892004885586143465noreply@blogger.com0tag:blogger.com,1999:blog-3523377920789750482.post-28648910929071547382014-04-27T08:01:00.003-07:002014-04-27T08:01:58.762-07:00Next Objectivists Spring WorkshopsAttention Past Present & Future <span style="color: #cc0000;"><b>Next Objectivists</b></span><br />
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<b>Our Spring Meeting Schedule is now determined!</b><br />
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Please join us at the following events!<br />
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<span style="color: #cc0000;"><b>Tuesday 6 May 6-8pm <a href="http://www.three-walls.org/" target="_blank">Three Walls Gallery</a> </b></span>(119 N. Peoria) The Next Objectivists join film maker<br />
<span style="font-weight: normal;"><a href="http://www.three-walls.org/exhibition/irina-botea/" target="_blank">Irina Botea</a> @ her show, <b>It is now a matter of learning hope</b>. We invite YOU to join us as we<span style="color: #cc0000;"> rewrite these films into objectivist poetry</span>. </span><br />
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Irina Botea’s <b><i>It is now a matter of learning hope</i></b> foregrounds how hope as an emotion is connected to imagination and the possibility of social change. The show features four films:<b><i> Impersonation, </i></b>a reenactment of Charles A Leale’s book <i>Lincoln’s Last Hours</i> featuring Abraham Lincoln presenters.<b><i> Art historians-a conversation</i></b> presents three art
historians expressing their emotional engagement with the artworks at the
Bruckenthal Museum in Sibiu, Romania.<b><i> Photocopy/Fotocópia </i></b>is<b><i> </i></b>a performance
stimulated through reprocessing experiences acquired during the 15 May
protests in Spain – in a space outside of the public realm of social
action – the studio.<b><i>It is now a matter of learning hope</i></b> presents artist
Ileana Faur learning and rehearsing fragments of written utopian
theories, set against the backdrop of Morii Island, one
of many failed utopian architectural projects that were never finished
by Nicolae Ceausescu, ex- dictator of Romania.<br />
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<span style="color: #cc0000;"><b>Wednesday 7 May 6-8pm <a href="http://www.chicagoparkdistrict.com/parks/Mozart-Park/#.U10UV6JnDPs" target="_blank">Mozart Field House</a></b></span> (<span itemscope="" itemtype="http://schema.org/CivicStructure"><span itemprop="address" itemscope="" itemtype="http://schema.org/PostalAddress"><span itemprop="streetAddress">2036 N. Avers Ave.) The Next Objectivists team up with <a href="http://www.borderbend.org/" target="_blank">Borderbend Arts Collective</a> to present four writing workshops on four consecutive Wednesdays this May! <span style="color: #cc0000;">We will be reading/discussing/writing together</span>. Our general theme will be the Problem of the Individual for Political Poetics.Most writers prize their individuality, and we often value poems as expressions of "personal" perspectives and styles. Politics depends upon collaboration, a collective vision, an acknowledgement of one's place in constituencies. How have past writers working in the Objectivist Poetry tradition reconciled this contradiction? How shall we reconcile the "problem" of individualism in the future? Each workshop will be devoted to a particular aspect of these issues. <span style="color: #cc0000;">The first workshop is devoted to "engaged irony." </span>We will explore the difference between sincerity, irony and sarcasm, considering how each attitude negotiates the move from private to public discourse. </span></span></span><br />
<span itemscope="" itemtype="http://schema.org/CivicStructure"><span itemprop="address" itemscope="" itemtype="http://schema.org/PostalAddress"><span itemprop="streetAddress"><br /></span></span></span>
<span itemscope="" itemtype="http://schema.org/CivicStructure"><span itemprop="address" itemscope="" itemtype="http://schema.org/PostalAddress"><span itemprop="streetAddress"><b><span style="color: #cc0000;">Wednesday 14 May 6-8pm Mozart Field House</span></b> (<span itemscope="" itemtype="http://schema.org/CivicStructure"><span itemprop="address" itemscope="" itemtype="http://schema.org/PostalAddress"><span itemprop="streetAddress">2036 N. Avers Ave.)</span></span></span></span></span></span><br />
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<span itemscope="" itemtype="http://schema.org/CivicStructure"><span itemprop="address" itemscope="" itemtype="http://schema.org/PostalAddress"><span itemprop="streetAddress"><span itemscope="" itemtype="http://schema.org/CivicStructure"><span itemprop="address" itemscope="" itemtype="http://schema.org/PostalAddress"><span itemprop="streetAddress"><span style="color: #cc0000;"><b>Wednesday 21 May 6-8pm</b></span> <b><span style="color: #cc0000;">Mozart Field House</span></b> (<span itemscope="" itemtype="http://schema.org/CivicStructure"><span itemprop="address" itemscope="" itemtype="http://schema.org/PostalAddress"><span itemprop="streetAddress">2036 N. Avers Ave.)</span></span></span></span></span></span></span></span></span><br />
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<span itemscope="" itemtype="http://schema.org/CivicStructure"><span itemprop="address" itemscope="" itemtype="http://schema.org/PostalAddress"><span itemprop="streetAddress"><span itemscope="" itemtype="http://schema.org/CivicStructure"><span itemprop="address" itemscope="" itemtype="http://schema.org/PostalAddress"><span itemprop="streetAddress"><span itemscope="" itemtype="http://schema.org/CivicStructure"><span itemprop="address" itemscope="" itemtype="http://schema.org/PostalAddress"><span itemprop="streetAddress"><span style="color: #cc0000;"><b>Wednesday 28 May 6-8pm Mozart Field House</b></span> (<span itemscope="" itemtype="http://schema.org/CivicStructure"><span itemprop="address" itemscope="" itemtype="http://schema.org/PostalAddress"><span itemprop="streetAddress">2036 N. Avers Ave.)</span></span></span> </span></span></span></span></span></span></span></span></span><br />
<br />
<span itemscope="" itemtype="http://schema.org/CivicStructure"><span itemprop="address" itemscope="" itemtype="http://schema.org/PostalAddress"><span itemprop="streetAddress"><span itemscope="" itemtype="http://schema.org/CivicStructure"><span itemprop="address" itemscope="" itemtype="http://schema.org/PostalAddress"><span itemprop="streetAddress"><span itemscope="" itemtype="http://schema.org/CivicStructure"><span itemprop="address" itemscope="" itemtype="http://schema.org/PostalAddress"><span itemprop="streetAddress">Please note that <b><span style="color: #cc0000;">all Next Objectivists Workshops are FREE & OPEN TO THE PUBLIC!</span></b> No experience necessary! You are invited to leave your expertise at the door. </span></span></span></span></span></span></span></span></span><br />
<span itemscope="" itemtype="http://schema.org/CivicStructure"><span itemprop="address" itemscope="" itemtype="http://schema.org/PostalAddress"><span itemprop="streetAddress"><span itemscope="" itemtype="http://schema.org/CivicStructure"><span itemprop="address" itemscope="" itemtype="http://schema.org/PostalAddress"><span itemprop="streetAddress"><span itemscope="" itemtype="http://schema.org/CivicStructure"><span itemprop="address" itemscope="" itemtype="http://schema.org/PostalAddress"><span itemprop="streetAddress"> </span></span></span></span></span></span></span></span></span> Next Objectivistshttp://www.blogger.com/profile/17892004885586143465noreply@blogger.com0tag:blogger.com,1999:blog-3523377920789750482.post-49160852054880322582014-04-08T16:42:00.002-07:002014-04-08T16:56:21.890-07:00Spring Quarter Begins<div>
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It was a long winter. One for the record books. But spring arrives eventually & <b><span style="color: red;">the Next Objectivists</span></b> shake their shaggy pelt & go in search of blackberries of the sort described by<a href="http://www.asymptotejournal.com/article.php?cat=Criticism&id=6" target="_blank"> Francis Ponge</a>. Or, if I may be so bold as to quote N.O. Gene Tanta, "The nice temps will mobilize poets, put a bounce in their Schlitz."<br />
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There was NEVER a BETTER TIME to join or otherwise convert or reconvert yourself into an ACTIVE member of the <span style="color: red;"><b>Next Objectivists</b></span>. Please recall that we are the world's only <b>100% autonomous poetry & poetics workshop dedicated to the study and reproduction of Poetry from the <a href="http://nextobjectivists.blogspot.com/2009/05/tomorrows-workshop-ed-dorns-gunslinger.html" target="_blank">Outsidereal</a>.</b> We may not look like much "on the ground" but historically <b>we are a rare & stimulating event</b>. Plus, you may well be spending <b>too much time watching TV on your laptop</b>. It's springtime people, as in time to spring as in into action. <br />
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<b>There are three or four items on our current agenda, which I enumerate by genre:</b></div>
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<span style="color: #cc0000;"><b>1. A Invitation Accepted</b></span>: The Next Objectivists @ Three Walls Gallery Tuesday 6 May, 6pm</div>
Core members of the workshop have joyfully accepted an invitation by the artist & filmmaker<a href="http://www.artisttalk.eu/artists/irina-botea/" target="_blank"> Irina Botea</a> to participate in her show at <a href="http://www.three-walls.org/" target="_blank">Three Walls Gallery</a>. A short back story will be helpful to new members; several years ago, back in the good ole <a href="http://www.timeout.com/chicago/art/mess-hall-closes-in-rogers-park" target="_blank">Mess Hall </a>days,
Irina & Next Objectivists member Gene Tanta (op. cit.) organized a
series of very stimulating writing workshops known as <b>WAM</b> or <b>Writing At the Movies</b>.
A number of Chicagoland writers participated; we watched video clips
& wrote in response to them. We read what we wrote & wrote what
we read. On <b>6 May, from 6-8pm, we will produce a version of this workshop at Three Walls Gallery</b>, as part of Irina's exhibition.<br />
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<span style="color: #cc0000;"><b>2. An Opportunity & a Proposal</b></span>. The Next Objectivists @ Mozart Park field house. Dates TBA.</div>
The <a href="http://www.borderbend.org/" target="_blank">Border/bend Arts Collective</a> has given the <span style="color: #cc0000;"><b>Next Objectivists</b></span> the opportunity to present a series of workshops in a very interesting public venue:<a href="http://www.chicagoparkdistrict.com/parks/Mozart-Park/" target="_blank"> the field house at Mozart Park in the Logan Square</a>
neighborhood. Mozart Park is bordered by Dickens on the North, Armitage
on the South, Avers Ave. on the East & train tracks on the West.
Border/bend is hosting a number of cultural events at the field house on
Mondays and Wednesdays throughout the spring and early summer, &
has invited us to participate in their programming.<br />
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There are many ways we might take advantage of this public space, but it's workshop custom to resist <b>the neoliberal voice of the father</b>, which seeks to <b>distract the subject</b> from the <b>pain of alienation</b> with <b>multiple choices</b>,
otherwise known as opportunities. Therefore, I propose we use this
venue for a project that has been percolating for several years: <span style="color: #cc0000;"><b>PLOP</b></span> or <b><span style="color: #cc0000;">Performative Lectures on Oppositional Poetics</span></b>.
As the name implies, this project is imagined as series of
lecture/workshops about different oppositional practices or
writing/editing/performing/<wbr></wbr>theorizing. Each session will begin with
a performative lecture by either a workshop member or an invited
guests. No definite
program or dates have been set yet: it's up to us to discuss, which
leads to:<br />
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<span style="color: #cc0000;"><b>3. An Invitation = Provocation + Free Food & Beer</b></span></div>
It's a simple equation once you understand the algebra of four situation. As you may know, the <span style="color: #cc0000;"><b>Next Objectivists</b></span>
are currently wandering in exile. After the Mess Hall closed, we met in
several locations off-&-on but none of them fulfilled our
collective desires. I have resisted hold meetings in private residences
because <b>the public nature of the workshop is fundamental</b>; being
open to anyone is a core principle, and we have frequently benefited
from the spontaneous contributions of members who wandered in. However,
we need <b>to get things started now</b> & under this state of exception <span style="color: #cc0000;"><b>I'm holding four organizational/planning/<wbr></wbr>strategy hangouts in my apartment: 6809 N. Ashland Blvd. #1</b></span>.<br />
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The dates/times of these meetings are:<br />
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<li><span style="color: #990000;">Wed. 23 April 7-10pm</span></li>
<li><span style="color: #990000;">Sat. 3 May 4-7pm</span></li>
<li><span style="color: #990000;">Wed. 14 May 7-10pm</span></li>
<li><span style="color: #990000;">Sat. 17 May 4-7pm</span></li>
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<b>I promise free food and drink for all who show up.</b> We will try to divide our time into three parts during these sessions:<br />
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a) Catching up and hanging out; we eat together, we drink together<br />
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b) Deciding upon and planning these upcoming events<br />
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c) Revisiting and re-invigorating a number of writing projects; currently there are
three writing projects that we have begun but not concluded:<br />
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i. <b>Hardy Boys / Nancy Drew Mashups Chapbook</b>: we produced many pages of Raw Or/e which could be revised into a new collection of poems.</div>
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ii. <b>The Next Objectivists Anthology</b>:
the first 5 years. We have collected several hundred pages of poetic
experiments and written an introduction. We need to find a publisher or
determine how to publish it ourselves.Should we submit Next Objectivist
poems to magazines? </div>
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iii. <b>Into the Skilling, Into the Fire, or Here Comes Some eBad Whether</b>: at our last regular meeting we conceived of an opera organized around the simple & profound fact that <a href="http://www.chicagoweathercenter.com/forecast/" target="_blank">Tom Skilling</a>, Chicago weatherman, & <a href="http://www.cnbc.com/id/100835443" target="_blank">Jeff Skilling</a>, of Enron infamy, <b>are brothers</b>.
What were their family dinners like? Did Tom forecast gloomy or
sparkling weather on the days when Jeff was indicted, tried, convicted?
Can we write a libretto & if so why? What is the relation between a <a href="http://en.wikipedia.org/wiki/Tom,_Dick_and_Harry" target="_blank">Tom, Dick and Harry</a> & a <a href="http://wardancingpixie.blogspot.com/2012/05/from-harry.html" target="_blank">Mutt and Jeff</a>?<br />
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Meanwhile, <b>intellectual interest has been growing</b> about the <span style="color: #cc0000;"><b>Next Objectivists</b></span>
in Europe. Only last week a researcher contacted
me. <b>Let's give 'em something to write about!!! </b></div>
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Remember: you may well be an annual <span style="color: #cc0000;"><b>Next Objectivist</b></span>. Does the <b>bulb of your being</b>, long buried in the frozen earth of <b>sentimental bureaucracy</b> burn for a better poetics? Do the <b>roots of your being</b> pulse with life, the <b>shoots of your desire</b> thrust toward the light? Join us! It's fun, super easy &<span style="color: #cc0000;"><b> totally free!</b></span><br />
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No experience in poetry or poetics is required; in fact, we ask you all to <b>leave your guns & expertise</b> at the door.Next Objectivistshttp://www.blogger.com/profile/17892004885586143465noreply@blogger.com0tag:blogger.com,1999:blog-3523377920789750482.post-59406413653106278962013-11-05T06:14:00.002-08:002013-11-05T06:14:32.740-08:00Next Objectivists Resume Regular Meeting Schedule NEW DAY & LOCATION<span style="font-size: large;">Attention <span style="color: #990000;"><b>Next Objectivists </b></span><br /><br />We resume a <b>regular meeting schedule</b>, but on <b>a <span style="color: #cc0000;"><span style="font-family: arial black,sans-serif;">new day</span></span> & at a <span style="color: #cc0000;"><span style="font-family: arial black,sans-serif;">new location</span></span>!</b><br />We will meet this next <b>SUNDAY 10 November at <a href="http://mkchi.org/">Multi-Kulti</a> </b>1000 N. Milwaukee Ave. </span><br />
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<span style="font-size: large;">The meeting will begin @ 3:00pm. <br /></span></div>
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<span style="font-size: large;">We will begin with a reading & discussion of <b>two poems by Jackson Mac Low</b>, which can be found below.</span></div>
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<span style="font-size: large;">Please join us! <br /></span></div>
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<span style="font-size: large;">Remember that all our meetings are <span style="color: #990000;"><b>free & open</b></span> to the public. Anyone is invited. Leave your expertise at the door.</span></div>
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Jackson Mac Low</div>
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<span style="font-size: medium;"><b>Giant Otters</b></span></div>
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They were a close family of giant
otters</div>
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in Surinam giving a low growling sound
when</div>
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they were insecure so they were called
the Hummers.</div>
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Trace elements had landed near them and
thy effloresced</div>
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in even amounts throughout an even eon
and an evening more</div>
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fortunate as they were in knowing
nothing</div>
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or peering curiously into unknown
presence</div>
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alert to no future living the past as
presence</div>
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whose elements were traces in their
efflorescing being</div>
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going as far as they could within the
world they were</div>
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as fortunate particularized occasions
within unfolding</div>
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breathed upon by memory's wraith and
anticipation's all but absence.</div>
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Where were they going but farther along
and through
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whatever their being eventuated in
clearness no demand for clarity</div>
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as the eyes are unsealed and the world
flows in as light?</div>
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<span style="font-size: x-small;">13-14
February 1982</span></div>
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<span style="font-size: x-small;">New
York</span></div>
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<span style="font-size: medium;"><b>36<sup>th</sup>
Light Poem: I<i>n Memoriam</i> Buster Keaton--</b></span></div>
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<span style="font-size: medium;"><b>4:50 – 6:18 A.M. Sat
1 January 1972</b></span></div>
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<span style="font-size: small;">As a Mad Scientist</span></div>
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<span style="font-size: small;">Buster lights a
Bunsen-burner flame</span></div>
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<span style="font-size: small;">that starts a series of
processes</span></div>
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<span style="font-size: small;">that eventually releases
The Monster</span></div>
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<span style="font-size: small;">As an Undertaker</span></div>
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<span style="font-size: small;">Buster lights a
Bunsen-burner flame</span></div>
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<span style="font-size: small;">that starts a series of
processes</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">that awakens a drunk who
was about to be buried as a corpse</span></div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">As a Muscovite</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">Buster lights a sisal wick
in a sesame-seed-oil lamp</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">that suddenly lights a
mystical orgy</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">officiated over by
Rasputin</span></div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">As a Boater</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">Buster beats a cascade by
floating out beyond its edge</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">borne by a balloon</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">lit by wintry sun </span>
</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">As an Unwilling Passenger
on a Drifting Liner</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">Buster the Millionaire &
his rich Girl Friend</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">learn to cope Alone
Without Servants</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">when forced to rely on the
light of their Upper-Class Intellects</span></div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">As a Worker</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">Buster arouses the
Compassion of the Nation </span>
</div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">in whose light the
Corporations</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">sell themselves to their
Workers</span></div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">As a Key Man </span>
</div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">Buster carries around with
him</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">an enormous bunch of keys</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">lighting his way with a
Keats lamp</span></div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">As a Beatnik</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">Buster meditates in a
Redwood forest</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">seated where the Selenic
light</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">first falls at Moonrise</span></div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">As a Leaf-&-Feather
Gatherer</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">Buster Means Well but bugs
everyone in the Park</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">spearing the ladies' hats
& the picknicker's salads</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">in featureless Hollywood
Light for the century's first quarter</span></div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">As William Butler Yeats</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">Buster addresses an irate
Irish crowd</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">that thinks that Poetry
makes Nothing Happen</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">but lets itself be bathed
by its Truthful Light</span></div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">As a Cannoneer</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">Buster explodes his own
ship's magazine</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">treads water in Gunpowder
Light at a safe distance</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">& blushes in
embarrassment at his Clumsiness</span></div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">As a Violinist</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">Buster surpasses Paganini</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">until Boston-Concert-Hall
Light</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">Poisons him with Love for
a Proper Bostonian Maiden</span></div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;"> 2</span></div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">Spirit of Buster Keaton</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">if you survive as yourself</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">receive Please our honor &
praise</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">you conscientious Workman</span></div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">Hard-working Buster Keaton</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">when you arouse the
laughter of children</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">as you live in Projector
Light</span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: small;">Your Karmic Residue
dissolves in Joyous Shouts</span></div>
<div style="margin-bottom: 0in;">
<br />
</div>
</div>
Next Objectivistshttp://www.blogger.com/profile/17892004885586143465noreply@blogger.com1tag:blogger.com,1999:blog-3523377920789750482.post-25141622874324917352013-10-11T05:47:00.003-07:002013-10-11T05:47:42.971-07:00Next Objectivists @ Chicago Calling <div>
Workshop members will be performing "Nanny Cammed," our new collective poem at the <strong><span style="font-family: georgia,serif;">Chicago Calling </span></strong>Event, <span style="color: #134f5c;">NSA: A Surveillance Throwdown</span> @ <strong>Multikulti</strong>, 9pm - 1am. Please join us! Here are the details:</div>
<div>
<br /><blockquote class="tr_bq">
"NSA: A Surveillance Throwdown" includes artists and community activists responding to surveillance. Time for a party throwdown, Orwellian style—with poetry readings, video screenings, musical performances, and more. The program includes a fiction reading by Kevin Kilroy; performances by the Next Objectivists, Great Lakes Ensemble, and the Tarnation Boys; and a talk about Chicago Indymedia. We will also feature several contributions in this media gallery, such as 010 by Bernardo Piñero and Alerta Móvil de Contra Vigilancia by anonimoColectivo.</blockquote>
</div>
<div>
<br /><strong><span style="color: #990000; font-family: "Courier New", Courier, monospace;">Friday, October 11 (9 p.m.)</span></strong><br /><br />Multikulti<br />1000 N. Milwaukee Ave.<br />Chicago, IL 60642<br /><br />$7 suggested donation</div>
<div>
</div>
Next Objectivistshttp://www.blogger.com/profile/17892004885586143465noreply@blogger.com0tag:blogger.com,1999:blog-3523377920789750482.post-73218850357730923382013-09-26T16:26:00.005-07:002013-09-26T16:26:55.713-07:00Next Objectivists @ Red Rover Reading Saturday 9/28Several workshop members will be among those reading at Saturday's <b>Red Rover</b> reading,part of a special event with 100 Thousand Poets for change the the Chicago Calling Festival.<br /><br />Join us this Saturday at the Outer Space Studio:<br /><br /><span style="color: #cc0000;"><span style="font-family: Arial,Helvetica,sans-serif;">Red Rover Series</span><br /><span style="font-family: Arial,Helvetica,sans-serif;">
{readings that play with reading}</span><br /><span style="font-family: Arial,Helvetica,sans-serif;">
</span><br /><span style="font-family: Arial,Helvetica,sans-serif;">
Experiment #67:</span><br /><span style="font-family: Arial,Helvetica,sans-serif;">
Private Eyes (They're Watching You)</span><br /><span style="font-family: Arial,Helvetica,sans-serif;">
</span><br /><span style="font-family: Arial,Helvetica,sans-serif;">
SATURDAY, SEPTEMBER 28th</span><br /><span style="font-family: Arial,Helvetica,sans-serif;">
7pm at Outer Space Studio</span><br /><span style="font-family: Arial,Helvetica,sans-serif;">
1474 N. Milwaukee Avenue</span><br /><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><br /><span style="font-family: Arial,Helvetica,sans-serif;">
A special event with</span><br /><span style="font-family: Arial,Helvetica,sans-serif;">
100 Thousand Poets for Change</span><br /><span style="font-family: Arial,Helvetica,sans-serif;">
<a href="http://www.100tpcmedia.org/" target="_blank">http://www.100tpcmedia.org</a></span><br />
<br />
On <span class="" data-term="goog_767562187" tabindex="0"><span class="">September 28, 2013</span></span>, many poets around the world will make their voices<br />
heard. To declare the change they'd like to see most in the U.S. and<br />
throughout the international community, events are being staged worldwide as<br />
part of 100 Thousand Poets for Change. This night of poetry and activism in<br />
Chicago asks the questions: What is freedom of expression? Is surveillance<br />
dangerous? Who chooses the information our government can access and censor?<br />
<br />
FEATURING:<br />
Darren Angle ,Barbara Barg, Joel Craig, Nina Corwin, <span style="color: #cc0000;"><b>Adrienne Dodt</b></span>, <b><span style="color: #cc0000;">Rey Escobar</span>,</b> Cean Gamalinda, Laura Goldstein, Jeanette Gomes, Kevin Gunnerson, Nathan Hoks, Felicia Holman, J'Sun Howard, Noël Jones, Jennifer Karmin, Emily Lansana, Daniela Olszewska, <span style="color: #cc0000;"><b>Matthias Regan</b></span>, Timothy David Rey, Larry Sawyer, Jennifer Steele, Keli Stewart, Russ Woods, Lina Ramona Vitkauskas<br />
<br />
Suggested donation $4<br />
**proceeds to be donated to Kiva**<br />
<a href="http://www.kiva.org/" target="_blank">http://www.kiva.org</a><br />
<br />
Logistics --<br />
near CTA Damen blue line<br />
third floor walk up<br />
not wheelchair accessible<br />
<br />
Co-sponsored by the Chicago Calling Arts Festival<br />
& curated by the 100 Thousand Poets for Change, Chicago Community Council<br />
2013:<br />
Barbara Barg, Laura Goldstein, Jennifer Karmin, Timothy Rey, Larry Sawyer,<br />
Keli Stewart, Lina Ramona VitkauskasNext Objectivistshttp://www.blogger.com/profile/17892004885586143465noreply@blogger.com0tag:blogger.com,1999:blog-3523377920789750482.post-76029807208461431042013-09-16T03:57:00.002-07:002013-09-16T03:57:50.098-07:00We meet THURSDAY 19 Sept. 7-9:30 pm at the Alternative Press Center<br />
we will be visited by Guest Objectivist Dan Godston<br />
who will discuss the upcoming CHICAGO CALLING FESTIVAL<br />
in which we will participate!<br />
see you Thursday,<br />MatthiasNext Objectivistshttp://www.blogger.com/profile/17892004885586143465noreply@blogger.com0tag:blogger.com,1999:blog-3523377920789750482.post-54435642903779823002013-08-19T12:12:00.000-07:002013-08-19T12:12:08.326-07:00NEXT MEETING: 22 August;; CAMPING TRIP 6-8 September<div>
<div>
<div>
<div>
<div>
<div>
<div>
<div>
<div>
<br /></div>
After a lovely beach & bar hiatus, we return, this <b>THURSDAY, August 22nd</b>, to the <a href="http://www.altpress.org/">Alternative Press Center</a>
(2040 North Milwaukee) for a meeting with a fully agenda. We will begin
no later than 7:15, and meander our way through the following topics:<br /></div>
<span style="color: #cc0000;">1. The future anterior of our collaboration with Daniel Tucker's Crisis Image Archive</span>;
what do we want this project to have become? Is its current iteration
over or ongoing? How might be activate aspects of the 20 or so pages of
raw or/e we produced in future projects?<br /></div>
<span style="color: #cc0000;">2. The editing and submission of our Anthology.</span>
Lorenza has found at least one press that looks like a good candidate
for submitting our book. We'll need to work together to finalize some
proposed edits, sketch out a letter to be used in submitting the
manuscript, and perhaps come up with a list of additional presses we
might wish to consider. <br /></div>
<span style="color: #cc0000;">3. Finalizing plans for our CAMPING TRIP.</span>
There's always some camping when the Next Objectivists meet, so what
happens when we meet in a campground. As it stands, our plan is to spend
the nights of Friday September 6 and Saturday September 7 in the woods
& on the beaches of the Indiana Dunes. One theme that has been
proposed is DUNE DADA. What might that involve? We need to develop the
theme of our first annual retreat into the woods, as well as work out
some minor logistical details, like how many cars, tents, sleeping bags,
dogs, beach chairs, cigarettes & Romanian sausages we'll need to
bring along. IF YOU ARE INTERESTED IN GOING CAMPING BUT CAN'T ATTEND
THIS THURSDAY's MEETING please e-mail me to let me know:<br /><br />a) the number and species of the beings in your party</div>
b) when you plan on arriving/departing</div>
c) if will you be driving, taking the train, hitching a ride</div>
d) if you have a tent or plan on sharing one of the several large ones we've got available<br /></div>
Looking forward to our future adventures in the <span style="color: #cc0000;"><b>OUTSIDEREAL</b></span> of several spheres,<br /></div>
MatthiasNext Objectivistshttp://www.blogger.com/profile/17892004885586143465noreply@blogger.com0tag:blogger.com,1999:blog-3523377920789750482.post-21546754904642956132013-07-24T09:31:00.000-07:002013-07-24T09:31:02.599-07:00<div>
<div>
<div>
<div>
<div>
<div>
<div>
<div>
<div>
Attention <span style="color: #cc0000;"><span style="font-family: arial black,sans-serif;">Next Objectivists</span></span>:<br /></div>
We're entering summer mode; the next few meetings will be ON THE BEACH. <br />
</div>
This <b>THURSDAY, 25 July</b>, we'll meet<span style="font-size: medium;"> on Loyola Beach</span>: the lakeshore next to Pratt. Look for our patchwork flag.<br /><b><br /></b></div>
<b>The meeting will be at the usual time: 7-9:30 pm. </b><br />
</div>
Our agenda includes:<br /></div>
<ul>
<li>plotting future summer events</li>
<li>updates on the <u>Collected Next Objectivists</u> anthology, which is coming together quite nicely</li>
<li>discussion of what to do with the raw or/e generated at our Sunday workshop with the Crisis Image Archive</li>
</ul>
</div>
</div>
</div>
</div>
Hope to see you there!<br />Next Objectivistshttp://www.blogger.com/profile/17892004885586143465noreply@blogger.com0tag:blogger.com,1999:blog-3523377920789750482.post-17700225348670717232013-07-09T08:18:00.000-07:002013-07-09T08:18:00.755-07:00Upcoming Events<b><span style="color: #cc0000;">The Next Objectivist Poetry workshop meets THURSDAY, 11 July </span></b>for a regular workshop @ APC (2040 N. Milwaukee), <b>7-9:30 pm</b>.
On the agenda is continued writing in response to the Crisis Image
Archive & some preparation for our next public event . . . <br /><br />
<div>
<span style="color: #cc0000;"><b>On SUNDAY, 14 July the Next Objectivists</b></span> will continue our collaboration with the <b>Crisis Image Archive</b> show. In the afternoon (<b>1-4pm</b>)
we will have typewriters set up in the APC gallery (2040 N. Milwaukee) & our poetypists
will be on hand to seek public responses to the images, transcripts of
which will become the basis for future workshop poems.<br /></div>
Remember that all events are FREE & OPEN TO THE PUBLIC. Please join us!<br />
<br />
<br />
Following are two poetic responses to images in the archive produced by the workshop in the last several weeks:<br />
<br />
<br />
<div align="LEFT" style="line-height: 100%; margin-bottom: 0in; page-break-before: always;">
<span style="font-size: medium;"><b>Paddle Shifting</b></span></div>
<div align="LEFT" style="line-height: 100%; margin-bottom: 0in;">
<br />
</div>
<div align="LEFT" style="line-height: 100%; margin-bottom: 0in;">
<br />
</div>
<div align="LEFT" style="line-height: 150%; margin-bottom: 0in;">
Paddle
shifting boys through waters</div>
<div style="line-height: 150%; margin-bottom: 0in;">
In a suspicious blue
eyed trash hand slipping</div>
<div style="line-height: 150%; margin-bottom: 0in;">
Through wire - worth
said things</div>
<div style="line-height: 150%; margin-bottom: 0in;">
Rectangular rectum
gracious shades sweeten my taste buds</div>
<div style="line-height: 150%; margin-bottom: 0in;">
Sliding downwards
funny mustache</div>
<div style="line-height: 150%; margin-bottom: 0in;">
Oh - the cash. <i>Vila
Campesina</i>.</div>
<div style="line-height: 150%; margin-bottom: 0in;">
The slant is
incorrect, though meaning can arrive at many angles.</div>
<div style="line-height: 150%; margin-bottom: 0in;">
Almost alike. Her
head mirrored on the pot.</div>
<div style="line-height: 150%; margin-bottom: 0in;">
Though metallic; it
evens out. Not chilling.</div>
<div style="line-height: 150%; margin-bottom: 0in;">
Praying gaze, like a
sweet astonishment.</div>
<div style="line-height: 150%; margin-bottom: 0in;">
The ever so easy
protest. When you're young</div>
<div style="line-height: 150%; margin-bottom: 0in;">
it all resembles up
in arms. Tent city.</div>
<div style="line-height: 150%; margin-bottom: 0in;">
The odd posture of a
soldier in a docile mass of suits.</div>
<div style="line-height: 150%; margin-bottom: 0in;">
Oh, the '20s
Arab-Hispanic-hetero-crotch.</div>
<div style="line-height: 150%; margin-bottom: 0in;">
Media bias hard-on;
a wonderful case</div>
<div style="line-height: 150%; margin-bottom: 0in;">
of giving head
during an economic crisis.</div>
<div style="line-height: 150%; margin-bottom: 0in;">
The question mark
with no urinal, as expected.</div>
<div style="line-height: 150%; margin-bottom: 0in;">
Overhanging
dollar-tie, with people to spare.</div>
<div style="line-height: 150%; margin-bottom: 0in;">
<br /></div>
<div style="line-height: 150%; margin-bottom: 0in;">
<br /></div>
<div style="line-height: 150%; margin-bottom: 0in;">
</div>
<div align="LEFT" style="line-height: 100%; margin-bottom: 0in; page-break-before: always;">
<span style="font-size: medium;"><b>EKPHRASTIC SONNET</b></span></div>
<div align="LEFT" style="line-height: 100%; margin-bottom: 0in;">
<br />
</div>
<div align="LEFT" style="line-height: 100%; margin-bottom: 0in;">
<br />
</div>
<div align="LEFT" style="line-height: 100%; margin-bottom: 0in;">
<span style="font-family: Arial,Helvetica,sans-serif;">Saint
Obama & the Wall Street worm</span></div>
<div align="LEFT" style="line-height: 100%; margin-bottom: 0in;">
<span style="font-family: Arial,Helvetica,sans-serif;">Watch in
horror as the world burns</span></div>
<div align="LEFT" style="line-height: 100%; margin-bottom: 0in;">
<span style="font-family: Arial,Helvetica,sans-serif;">Thunderbolt
stock reports threaten the Ark</span></div>
<div align="LEFT" style="line-height: 100%; margin-bottom: 0in;">
<span style="font-family: Arial,Helvetica,sans-serif;">Two dozen
tents pitched in a park</span></div>
<div align="LEFT" style="line-height: 100%; margin-bottom: 0in;">
<span style="font-family: Arial,Helvetica,sans-serif;">Total
Recall for Governor Walker</span></div>
<div align="LEFT" style="line-height: 100%; margin-bottom: 0in;">
<span style="font-family: Arial,Helvetica,sans-serif;">A screw
through the head of a middle-class boy</span></div>
<div align="LEFT" style="line-height: 100%; margin-bottom: 0in;">
<span style="font-family: Arial,Helvetica,sans-serif;">Latest
updates on the Wall Street shocker</span></div>
<div align="LEFT" style="line-height: 100%; margin-bottom: 0in;">
<span style="font-family: Arial,Helvetica,sans-serif;">The Piper
pipes; we dance for Joy</span></div>
<div align="LEFT" style="line-height: 100%; margin-bottom: 0in;">
<span style="font-family: Arial,Helvetica,sans-serif;">The cane
now poised to pull Shrub offstage</span></div>
<div align="LEFT" style="line-height: 100%; margin-bottom: 0in;">
<span style="font-family: Arial,Helvetica,sans-serif;">Governor
Ryan makes a final stand</span></div>
<div align="LEFT" style="line-height: 100%; margin-bottom: 0in;">
<span style="font-family: Arial,Helvetica,sans-serif;">A
patched-up Uncle Sam, hat in hand</span></div>
<div align="LEFT" style="line-height: 100%; margin-bottom: 0in;">
<span style="font-family: Arial,Helvetica,sans-serif;">While his
dog howls in fear & rage</span></div>
<div align="LEFT" style="line-height: 100%; margin-bottom: 0in;">
<span style="font-family: Arial,Helvetica,sans-serif;">A dollar
bill suffering an anxiety attack</span></div>
<div align="LEFT" style="line-height: 100%; margin-bottom: 0in;">
<span style="font-family: Arial,Helvetica,sans-serif;">They call
it class war when we fight back</span></div>
<div style="line-height: 150%; margin-bottom: 0in;">
<br /></div>
Next Objectivistshttp://www.blogger.com/profile/17892004885586143465noreply@blogger.com0tag:blogger.com,1999:blog-3523377920789750482.post-68310577540830084872013-06-27T05:39:00.002-07:002013-06-27T05:42:26.551-07:00Meeting Tonight to Work on Crisis Image ArchiveHello Past Present & Future <span style="color: #cc0000;"><b>Next Objectivists</b></span><br />
<br />
<a href="http://www.blogger.com/blogger.g?blogID=3523377920789750482" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><a href="http://www.blogger.com/blogger.g?blogID=3523377920789750482" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="http://artinthesetimes.files.wordpress.com/2013/04/p10101531.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;" target="_blank"></a><b>We meet TONIGHT, Thursday 27 June</b> @ the <b>Alternative Press Center</b> (2040 N. Milwaukee Ave. 2nd Floor) & will be engaged in writing related to the Crisis Image Archive. Here's the full scoop on that exhibit:<br />
<br />
<div style="color: #333333; font-family: Georgia,'Times New Roman',Times,serif; font-size: 13px; line-height: 20px!important; margin: 0px; padding: 8px 0px;">
<b>Crisis Image Archives on view at Art In These Times gallery</b></div>
<div style="color: #333333; font-family: Georgia,'Times New Roman',Times,serif; font-size: 13px; line-height: 20px!important; margin: 0px; padding: 8px 0px;">
<div class="separator" style="clear: both; text-align: center;">
</div>
Opening Reception: <span class="aBn" data-term="goog_1539698293" tabindex="0"><span class="aQJ">Sunday, June 30th 5-8pm</span></span></div>
<div style="color: #333333; font-family: Georgia,'Times New Roman',Times,serif; font-size: 13px; line-height: 20px!important; margin: 0px; padding: 8px 0px;">
<span style="font-family: Georgia,'Times New Roman','Bitstream Charter',Times,serif; line-height: 19px;">Cultural critic</span><span style="font-family: Georgia,'Times New Roman','Bitstream Charter',Times,serif; line-height: 19px;"> </span><a href="http://brianholmes.wordpress.com/" style="font-family: Georgia,'Times New Roman','Bitstream Charter',Times,serif; line-height: 19px;" target="_blank">Brian Holmes</a><span style="font-family: Georgia,'Times New Roman','Bitstream Charter',Times,serif; line-height: 19px;"> </span><span style="font-family: Georgia,'Times New Roman','Bitstream Charter',Times,serif; line-height: 19px;">will provide commentary at the opening. </span></div>
<div style="font-family: arial,sans-serif; font-size: 12.727272033691406px; margin: 0px; padding: 8px 0px;">
<span style="color: #333333; font-family: Georgia, Times New Roman, Times, serif;"><span style="line-height: 20px;"><a href="http://artinthesetimes.wordpress.com/2013/04/15/crisis-image-archives/" style="color: #1155cc;" target="_blank">http://artinthesetimes.<wbr></wbr>wordpress.com/2013/04/15/<wbr></wbr>crisis-image-archives/</a></span></span></div>
<div style="font-family: arial,sans-serif; font-size: 12.727272033691406px; margin: 0px; padding: 8px 0px;">
<span style="color: #333333; font-family: Georgia, Times New Roman, Times, serif;"><span style="line-height: 20px;"><a href="https://www.facebook.com/events/456653161078112/" style="color: #1155cc;" target="_blank">https://www.facebook.com/<wbr></wbr>events/456653161078112/</a></span></span></div>
<div style="color: #333333; font-family: Georgia,'Times New Roman','Bitstream Charter',Times,serif; font-size: 13px; line-height: 19px;">
In
2012 a team of artists and visual culture researchers sought out to
document all of the visual representations of “the crisis” appearing in
the last 5 years of the 300 magazines and journals archived in the <a href="http://www.altpress.org/" target="_blank">Alternative Press Center</a> in
Chicago. Totalling 750 images, these illustrations and photographs
compose a record of the collective visual imagination of the
international political and cultural left. Frequently used graphic
tropes portraying bankers, fat cats, Keynes, Marx, Obama and protesters
are found alongside more surprising depictions of agony, desperation,
and holistic futures. An exhibition of this project in photographs and
binder archives will be on view at Art In These Times until September.</div>
<div style="color: #333333; font-family: Georgia,'Times New Roman','Bitstream Charter',Times,serif; font-size: 13px; line-height: 19px;">
<br /></div>
<div style="color: #333333; font-family: Georgia,'Times New Roman','Bitstream Charter',Times,serif; font-size: 13px; line-height: 19px;">
<u><b>Three gatherings for further responses to the archive will be include:</b></u></div>
<div style="color: #333333; font-family: Georgia,'Times New Roman','Bitstream Charter',Times,serif; font-size: 13px; line-height: 19px;">
<b><span class="aBn" data-term="goog_1539698294" tabindex="0"><span class="aQJ">July 14th at 2pm</span></span> - at Art In These Times</b></div>
<div style="color: #333333; font-family: Georgia,'Times New Roman','Bitstream Charter',Times,serif; font-size: 13px; line-height: 19px;">
A Crisis Image poetry workshop with the <a href="http://nextobjectivists.blogspot.com/" target="_blank">Next Objectivists Poetry Workshop</a> </div>
<div style="color: #333333; font-family: Georgia,'Times New Roman','Bitstream Charter',Times,serif; font-size: 13px; line-height: 19px;">
<b><span class="aBn" data-term="goog_1539698295" tabindex="0"><span class="aQJ">August 24th at 2pm</span></span> - at Art In These Times</b></div>
<div style="color: #333333; font-family: Georgia,'Times New Roman','Bitstream Charter',Times,serif; font-size: 13px; line-height: 19px;">
Crisis Image Design charrette with local graphic designer on how to visually represent crisis</div>
<div style="color: #333333; font-family: Georgia,'Times New Roman','Bitstream Charter',Times,serif; font-size: 13px; line-height: 19px;">
<b><span class="aBn" data-term="goog_1539698296" tabindex="0"><span class="aQJ">August 27th at 7pm</span></span> - at The Comfort Station</b> 2579 N. Milwaukee Ave. Chicago, IL 60647</div>
<div style="color: #333333; font-family: Georgia,'Times New Roman','Bitstream Charter',Times,serif; font-size: 13px; line-height: 19px;">
THIS IS NOW A MAGAZINE hosts Daniel Tucker for a reading of short writing based on the Crisis Image Archives</div>
<div style="color: #333333; font-family: Georgia,'Times New Roman','Bitstream Charter',Times,serif; font-size: 13px; line-height: 19px;">
++++++</div>
<div style="color: #333333; font-family: Georgia,'Times New Roman','Bitstream Charter',Times,serif; font-size: 13px; line-height: 19px;">
Press: Check out our shout-out in <a href="http://www.chicagomag.com/Radar/Chicago-Guide/June-2013/Top-5-Things-to-Do-This-Week-in-Chicago/" target="_blank">Chicago Magazine</a>!</div>
Next Objectivistshttp://www.blogger.com/profile/17892004885586143465noreply@blogger.com0tag:blogger.com,1999:blog-3523377920789750482.post-80041459648230220392013-06-21T12:17:00.002-07:002013-06-21T12:17:33.428-07:00Next Objectivists Explore Crisis Image Archive<br />
<h2 style="text-align: center;">
This summer <span style="color: #cc0000;">the Next Objectivists</span> are collaborating</h2>
<h2 style="text-align: center;">
on the</h2>
<h2 style="text-align: center;">
<span style="color: #45818e;">Crisis Image Archive Project </span></h2>
<br />
All Next Objectivists & fellow travelers are asked to participate! There are several ways to participate:<br />
<br />
<h4>
<span style="color: #cc0000;">Visit the on-line version of the <a href="https://www.dropbox.com/sh/6zgp1q6h366y86g/jjnY6tG07M">Crisis Image Archive</a></span>, select some images & write some poems responding to them.</h4>
Send your poems to <a href="mailto:nextobjectivists@gmail.com">nextobjectivists@gmail.com</a> or bring them to a workshop. They will be incorporated into CIA exhibits & our anthology.<br />
<h4>
<span style="color: #cc0000;">Come to a public writing event.</span></h4>
The opening reception of the Crisis Image Archive exhibit is SUNDAY, June 30th from 5-8pm @ the Art In These Times gallery at 2040 N. Milwaukee Avenue 2nd floor (same place we now regularly meet). On Sunday July 14 we'll also stage a public writing event in concert with the exhibit.<br />
<h4>
<span style="color: #cc0000;">Join us for our regularly scheduled workshops</span></h4>
We'll be writing & editing poems based on or otherwise responding to the images in the archive. See the sidebar for dates of regularly scheduled workshops, which are now held @ 2040 N. Milwaukee Avenue 2nd floor7-9:30 pm.<br /><br />
<h3 style="text-align: center;">
Remember, all workshops are free & open to the public.</h3>
<h3 style="text-align: center;">
<span style="color: #cc0000;">You may already be a Next Objectivist. Come & find out!</span></h3>
<br />Next Objectivistshttp://www.blogger.com/profile/17892004885586143465noreply@blogger.com0tag:blogger.com,1999:blog-3523377920789750482.post-1909367472508620632013-06-11T10:18:00.004-07:002013-06-11T10:18:40.968-07:00<div>
Attention <span style="color: #cc0000;"><span style="font-family: arial black,sans-serif;"><b>Next Objectivists</b></span></span>,<br /></div>
We have resumed our regular schedule & will meet THIS THURSDAY at our new location:<br />
<br /><span style="font-size: medium;"><b>the Alternative Press Center</b></span><br />
<span style="font-size: medium;"><b>2040 N. Milwaukee Ave. 2nd Floor, Chicago, IL, 60647</b></span><br />
<a href="http://www.altpress.org/" target="_blank">http://www.altpress.org/</a><br />
<br />
Meeting will be at the usual time: 7-9:30.<br />
<br />
We'll be turning to a new project that was introduced in our last
workshop--ekphrastic poems responding to an archive of images related to
the financial crisis--but also messing with older projects & open
to other alternatives. More on this project will be announced on the blog soon.<br />
<br />
<br />
Following is the strange essay we produced at our last workshop, working with the texts that surround us in our new space.<br />
<br />
<blockquote class="tr_bq">
<div style="margin-bottom: 0in;">
<span style="font-size: x-small;">I will be less afraid of being drowned
by women. Maybe I should whiz past them, make believe they aren't
there, as everybody else in Chile has probably done since they were
born, run right by them, ignore their existence. My balking I think
could hardly matter now, if women were not balking too. They say
whatever causes the behavior, it's the behavior itself that becomes
the problem. One way I could handle this fundamental difficulty it to
sort out the conflicting ingredients into two kinds of love: tender
and sensual. The union of course rejected both plans. For men's items
should be oriented toward women, as I have suggested. Maybe he had
intended the bathtub as an expression of his personality. It is
necessary above all to be concrete when I speak of these things. Men,
even good men, are commonly supposed to the slavery of the actual. In
any event, whatever problems there were elsewhere, there had not been
a single riot in Chicago itself. Of course a question will always
occur as to the difficult analogic content of a passage such as this.
She sat through the closing scene of the movie, beginning to be
convinced that she was the victim of a complicated hallucination. “So
I'm finally going mad,” she thought, “live everybody else. What a
nuisance. Though I suppose it will be a change.” By now the city
was being patrolled by at least ten thousand regular officers,
“specials” and troops. A realistic self assessment—man, cut
down to size. I was running along the sidewalk. After the first
minute I was surprised to find my feet moving, wondering how they had
begun, but I didn't stop. Which made it impossible for me to stop
hating what I need and needing what I hate in the old man. Are the
present times indeed so evil as to demand a literal reading of a text
such as this? Because we housewives of today have the tools to reach
it, we dig every day after dust that grandmother left to a spring
catechism. If few of us have nine children for a weekly bath, we have
two or three for a daily immersion. If our consciousnesses don't
prick over vacant pie shells or empty cookie jars, they do over meals
in which a vitamin may be omitted or a calorie lacking. But we were
not always like this.
</span></div>
<span style="font-size: x-small;">
</span><div style="margin-bottom: 0in;">
<span style="font-size: x-small;"> All of the above was either grossly
untrue or greatly exaggerated, but it created a public climate so
frenzied that the government could feel free to seek injunctions and
send in troops.</span></div>
<span style="font-size: x-small;">
</span><div style="margin-bottom: 0in;">
<span style="font-size: x-small;"><br /></span>
</div>
<span style="font-size: x-small;">
</span><div style="margin-bottom: 0in;">
<span style="font-size: x-small;">Sentences taken, with minor changes to
pronouns and tenses, from:</span></div>
<span style="font-size: x-small;">
</span><div style="margin-bottom: 0in;">
<span style="font-size: x-small;"><br /></span>
</div>
<span style="font-size: x-small;">
</span><div style="margin-bottom: 0in;">
<span style="font-size: x-small;">Atwood, Margaret. <i>The Edible Woman</i>.</span></div>
<span style="font-size: x-small;">
</span><div style="margin-bottom: 0in;">
<span style="font-size: x-small;">Berrigan, Daniel. <i>No Bars to
Manhood</i>.</span></div>
<span style="font-size: x-small;">
</span><div style="margin-bottom: 0in;">
<span style="font-size: x-small;">Dinnerstein, Dorothy. <i>The Mermaid
and the Minotaur</i>.</span></div>
<span style="font-size: x-small;">
</span><div style="margin-bottom: 0in;">
<span style="font-size: x-small;">Dorfman, Ariel. <i>The Nanny and the
Iceberg</i>.</span></div>
<span style="font-size: x-small;">
</span><div style="margin-bottom: 0in;">
<span style="font-size: x-small;">Douglas, Ann. <i>The Feminization of
American Culture.</i></span></div>
<span style="font-size: x-small;">
</span><div style="margin-bottom: 0in;">
<span style="font-size: x-small;">Schor, Juliet. <i>The Overworked
American</i>.</span></div>
<span style="font-size: x-small;">
</span><div style="margin-bottom: 0in;">
<span style="font-size: x-small;">Lens, Sidney. <i>The Labor Wars</i>.</span></div>
</blockquote>
<div style="margin-bottom: 0in;">
<br />
</div>
<br />
<br />
Hope to see you this Thursday, June 13, @ 7:00 pm!<br />
<br />
MatthiasNext Objectivistshttp://www.blogger.com/profile/17892004885586143465noreply@blogger.com0tag:blogger.com,1999:blog-3523377920789750482.post-90612337098122441522013-05-24T09:33:00.005-07:002013-05-24T09:33:46.008-07:00NEW MEETING LOCATION!<br />
<h3>
<span style="color: #3d85c6; font-size: medium;"><b style="background-color: #e69138;"> <span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: large;">WE ARE BACK! </span> </b></span></h3>
<br />
After the longest hiatus the workshop has known in its 6 years of regular meetings, we have found a new space for our regular meetings.<br />
<br />Beginning on <b style="color: #cc0000; font-family: arial black,sans-serif;">Thursday 30 May</b>, we will resume our regular schedule in our NEW LOCATION:<br /><br />
<br />
<div style="color: #cc0000; text-align: center;">
<span style="font-size: medium;"><b>the Alternative Press Center</b></span></div>
<div style="text-align: center;">
<span style="font-size: medium;"><b>2040 N. Milwaukee Ave. 2nd Floor, Chicago, IL, 60647</b></span></div>
<div style="text-align: center;">
<a href="http://www.altpress.org/" target="_blank">http://www.altpress.org/</a></div>
<br />
The APC & <i>In These Times</i>
have graciously allowed us to begin regular meetings in their space,
which is on the second floor, in the beautiful library of alternative
press publications. The APC is on the west side of Milwaukee Ave., just a
few hundred yards northwest of the Milwaukee/Armitage/Western
megasection. <br />
<br />
<br />
<div style="text-align: center;">
<b>We will meet from <span style="color: #cc0000;">7-9:30</span> as usual.</b></div>
<br /><b>A heart-felt <span style="color: #cc0000; font-size: medium;">THANK YOU</span></b> is owed to long-time Next Objectivist<span style="color: #cc0000;"> Lorenza Perelli</span>., for arranging this, and to<span style="font-family: "Calibri","sans-serif"; font-size: 11pt; line-height: 115%;">
<span style="color: #cc0000;">Daniel Tucker</span> (wearing his APC hat) and <span style="color: #cc0000;">Chuck D’Adamo</span> (of <i>In These Times</i>) for agreeing to let us use the space!</span><br />
<br />
<br />
<span style="font-family: "Calibri","sans-serif"; font-size: 11pt; line-height: 115%;">As we reconvene after several months in the wilderness, we have @ least 4 items on the agenda:<br />
</span><br />
<blockquote class="tr_bq">
<ul>
<li><span style="font-family: "Calibri","sans-serif"; font-size: 11pt; line-height: 115%;"><span style="color: #cc0000;">To review and continue to work on</span><b style="color: #cc0000;"> the Hardy Boys/Nancy Drew poems</b><span style="color: #cc0000;">
</span>we've begun to develop. (I'll bring copies of everything we've got on
this so far & we might try a verbal editing session, such as we did
w/ the wikilyrics some years ago)<br />
</span></li>
<li><span style="font-family: "Calibri","sans-serif"; font-size: 11pt; line-height: 115%;"><span style="color: #cc0000;">To contemplate the production of this and </span><b style="color: #cc0000;">past & future publications</b>
(Lorenza & I have been thinking its time to compile the various
poems produced over the years into one nicely designed book)</span></li>
<li><span style="font-family: "Calibri","sans-serif"; font-size: 11pt; line-height: 115%;"><span style="color: #cc0000;">To contemplate </span><b style="color: #cc0000;">summer workshops</b>: what shall we do this summer; do we want to create some public events? Special events? Readings in Chicago or environs? </span></li>
<li><span style="font-family: "Calibri","sans-serif"; font-size: 11pt; line-height: 115%;"><span style="color: #cc0000;">To contemplate</span><b style="color: #cc0000;"> PLOP</b>:
Performative Lectures on Oppositional Poetics (a lecture series still
in its production stage, which would invite regional writers & N. O.
members to present, well, performative lectures on oppositional
poetics...)</span></li>
</ul>
</blockquote>
Next Objectivistshttp://www.blogger.com/profile/17892004885586143465noreply@blogger.com1tag:blogger.com,1999:blog-3523377920789750482.post-75013701634912300152013-03-12T11:45:00.003-07:002013-03-12T11:45:37.356-07:00Next Meeting Thursday 3/14 Raw Or/e
<div style="margin-bottom: 0in;">
The Next meeting of the <b><span style="color: #990000;">Next Objectivists</span> </b>is Thursday 3/14 at the <a href="http://www.messhall.org/" target="_blank">Mess Hall</a> in Rogers Park.We hope old and new members will join us for our penultimate meeting in the space where the <b><span style="color: #990000;">Next Objectivists</span></b> conceived themselves more than five (<span style="font-size: large;">5</span>) years ago. </div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
At our last meeting, on February 28, we began to compose a new chapbook. Periodically, the workshop produces collections of poetry based on source texts and authored - or better, transcribed and edited - by the group. Our goal is to carry the Objectivist poetic practices of the 1930s-60s into the future by generating truly multi-authored and anonymous texts: ones which can be ascribed only to a collective entity. </div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
Following is a brief description of the procedures we followed to create the "Raw Or/e" as we call it--the material the comprises the first draft of some future collection. The Or/e is also below. </div>
<div style="margin-bottom: 0in;">
<span style="color: #a64d79;"><br /></span></div>
<h4>
<span style="color: #a64d79;">Notes from meeting of 28 February 2013.</span></h4>
<div style="margin-bottom: 0in;">
After reading aloud & discussing
<i>The Hardy Boys Poems</i> by Eric Wayne Dickey, recently published by
<a href="http://beardofbees.com/" target="_blank">BeardofBees press</a>, each of us took up a book from the pile of Nancy
Drew and Hardy Boys mysteries on the table. Thinking about the
Freudian notion of desire which Dickey employs to TWIST the poems
away from normativity by adding a libidinal supplement of his own
(sometimes 'straying' so far from the source text as to produce Hardy
Boys erotica), we determined that an objectivist method would require
that we did not, at least initially, rewrite or supplement the source
texts. We would preserve the sentences of the source texts and not
add ones of our own, but only juxtapose what was already given.
Noting how Dickey's book maintains a kind of perverted satire of
1950s-era American values, we wondered if we might generate similarly
satirical effects through juxtaposition. As an initial gesture toward
a collaborative writing project, we decided to begin by choosing
passages from the source texts that emphasized the bizarre nature of
the “mystery” plots; the initial idea was to generate a sense of
“information overload.” Whereas Dickey focusing on character and
personality—adding a libido missing from the stories—we would
focus on plot. We would pay particular attention to passages that
expressed huge realizations—what in Aristotelian terms we might
think of as “recognitions” and “reversals.” We developed
these basic rules:</div>
<ol>
<li><div style="margin-bottom: 0in;">
We would try to choose passages of
revelatory moments.</div>
</li>
<li><div style="margin-bottom: 0in;">
We would also choose plot elements
related to these moments: scenes of discovery.</div>
</li>
<li><div style="margin-bottom: 0in;">
We would focus upon empty
revelations, and perhaps empty out revelation.</div>
</li>
</ol>
<div style="margin-bottom: 0in;">
<br />
</div>
<h4 style="margin-bottom: 0in;">
<span style="color: #a64d79;">Our procedure involved group
improvisation and transcription.</span></h4>
<div style="margin-bottom: 0in;">
Sitting around the table, each person
would read aloud one or several sentences. These would be typed onto
a tabloid sized sheet, generating the raw or/e. But more importantly,
everyone else in the group (there were 12 of us around the table,
although as always the group's size fluctuated as people came and
went) listened to the passage. Someone then 'responded' by reading
aloud a passage that met the basic requirements of the game and also
elaborated upon, extended, or juxtaposed its signification with that
of the previous passage. As we continued this practice, we began to
develop a tempo and slowly our thoughts began to harmonize. We found
the game enjoyable and attempted several more rounds, each time
discussing and slightly refining our basic practice, without
significantly altering the rules (long since abandoned to the
pleasures of improvisation).</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
Following are the results of this
exercise: three “rounds” of improvised group juxtaposition of
sentences from the source texts. The transcription, made by electric
typewriter, was in prose. During the second round, we also inserted
the rule that anyone could at any time signal a “paragraph break,”
in order to divide the source text into smaller units. These breaks
emerged spontaneously.</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
As an extension of the experiment, I
broke the result of round one into basic poetic units when
transcribing them: rough tetrameters, couplets and triplets.
</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<h3 style="margin-bottom: 0in;">
<span style="color: #990000;">Raw Or/e 2.28.13</span></h3>
<div style="margin-bottom: 0in;">
Drawn from a variety of Nancy Drew and
Hardy Boys mysteries, through an improvisatory method.</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
<b>Round One</b></div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
A single wrong twist of the wheel</div>
<div style="margin-bottom: 0in;">
could mean a fatal plunge</div>
<div style="margin-bottom: 0in;">
into the valley below. Frank drove</div>
<div style="margin-bottom: 0in;">
swiftly, but with a firm hand.</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
“All I ever got out of your cases</div>
<div style="margin-bottom: 0in;">
is bruises.” “You snooping
busy-bodies!”</div>
<div style="margin-bottom: 0in;">
Raskin's voice snarled in Nancy's ear.</div>
<div style="margin-bottom: 0in;">
“This is the last time you're going</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
to get in our way.” “Young lady,</div>
<div style="margin-bottom: 0in;">
you've broken the law. You're in
trouble</div>
<div style="margin-bottom: 0in;">
with the authorities!” “By the
way,”</div>
<div style="margin-bottom: 0in;">
Frank went on, “where do you buy</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
your sapphires?” Now it is all</div>
<div style="margin-bottom: 0in;">
factory-made suits. There is no real
work</div>
<div style="margin-bottom: 0in;">
for a tailor anymore. Only patching
holes,</div>
<div style="margin-bottom: 0in;">
altering. The smell of new cloth</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
and leather goods pervaded</div>
<div style="margin-bottom: 0in;">
the huge store. Crowds moved about,</div>
<div style="margin-bottom: 0in;">
inspecting hundreds of items,</div>
<div style="margin-bottom: 0in;">
from camping gear to sports clothes.</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
We put them in a trashcan. Good place</div>
<div style="margin-bottom: 0in;">
for them. Just then, Frank heard</div>
<div style="margin-bottom: 0in;">
the sound of a car starting up</div>
<div style="margin-bottom: 0in;">
in the distance. “There they go!”</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
Apparently they thought George was a
man</div>
<div style="margin-bottom: 0in;">
and they wanted no part of a judo
encounter.</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
You mean there's something the matter
with the man</div>
<div style="margin-bottom: 0in;">
she's going to marry? With a blast of
exhaust,</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
they took off after the fleeing car.
You saw giants</div>
<div style="margin-bottom: 0in;">
on the desert, giants better than a
hundred feet tall.</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
“We'll tie 'em good this time so
they'll stay put.”</div>
<div style="margin-bottom: 0in;">
Pick replied coldly, “that would be
you're death warrant.</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
Now scram out of this territory.”
“Should we tie up</div>
<div style="margin-bottom: 0in;">
and look around?” Chet asked. The
Indians couldn't</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
see them, but we <u>can</u>! Crimes big
or little are so</div>
<div style="margin-bottom: 0in;">
useless. What ever profits they may
bring are always</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
temporary. Or Edgar could be using
aliases.</div>
<div style="margin-bottom: 0in;">
The pilot grinned, “any time
fellows.” “Who are you?</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
What's your name?” Frank asked. “Wait
. . . not . . . now . . .
</div>
<div style="margin-bottom: 0in;">
later.” Bubbles appeared in the
beaker and the lime-water</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
turned cloudy, then clear again.
“Limestone it is!”</div>
<div style="margin-bottom: 0in;">
Joe exclaimed. “I knew it! This is
what comes of meddling</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
with mysteries!” “You see, where I
was brought up</div>
<div style="margin-bottom: 0in;">
us sailors meant washing dishes when we
said pearl diving.”</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
“Suppose you look</div>
<div style="margin-bottom: 0in;">
in the kitchen, just</div>
<div style="margin-bottom: 0in;">
in case,” Frank suggested.</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
Bliff shrugged.</div>
<div style="margin-bottom: 0in;">
“Who knows?</div>
<div style="margin-bottom: 0in;">
Maybe they thought</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
his jewels were real!”</div>
<div style="margin-bottom: 0in;">
Chet felt the cool grass</div>
<div style="margin-bottom: 0in;">
come up and hit</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
his face. “Everybody</div>
<div style="margin-bottom: 0in;">
is so kind to me except—</div>
<div style="margin-bottom: 0in;">
except my mother.”</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
He had a limp until</div>
<div style="margin-bottom: 0in;">
he was cornered and then</div>
<div style="margin-bottom: 0in;">
he could run like a deer.</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
<b>Round Two</b></div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
“No. But I just have a strong hunch
that there might be a fake Nancy Smith Drew posing as the real one.”
The stout boy beamed with pride, “that shot-putting stuff came in
handy, eh?” They ascended the stairs to the rear entrance and
knocked. A thin old man opened the door. Nancy tooted again. “By
the way,” Sam asked as they pulled into the driveway, “have you
heard from my wife?” “Don't ask me who did it. There I was
rushing to find you two when Biff! I saw stars. Frank wondered if the
pilot could mean component parts for atomic weapons. “Now who'd do
a thing like that?” Joe asked.</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
“Whoever stole it,” Frank
commented, “must have. realized he couldn't get very far with it.”
“There's no question but that this is pirated from ours! Now we
have something concrete. We'll go after these thieves!” “Our
phone bill will be tremendous.” Frank gave a gasp. “You hit the
nail on the head!”</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
“Hey fellows,” Chet said, “I hate
to spoil a good ice-cream bar, but those not too friendly friends of
ours are over there.” “They're my babies. You can't take them
away!” After all, this is a public park, and people come and go.
Well, I'll be a cross-eyed monkey. You certainly had us fooled. Jack
turned around. “Hey did you say three for me? I only brought two.”
“But Eddy at the soda shop says you ordered a record,” Nancy
said. “When and why did you do that?” Then she began to quote
from Shakespeare,</div>
<blockquote class="tr_bq">
<div style="margin-bottom: 0in;">
But love is blind, and lovers</div>
<div style="margin-bottom: 0in;">
Can not see</div>
<div style="margin-bottom: 0in;">
The pretty follies that themselves</div>
<div style="margin-bottom: 0in;">
Commit.</div>
</blockquote>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
“Remind me to have his adenoids
removed,” Biff said with a chuckle. “I know how quiet it will
be,” snapped their aunt. “Just one danger after another.” Frank
strained his ears, wondering if he was mistaken. Then he heard it
again. A faint scratching noise which he could not identify. “You
all right?” Joe asked. “Yes, but my head feels like a balloon.”
“I know what you mean.” Things aren't any easier, even though I
have a job. I can't blame them for being curious,” Jack said. “I'll
bet its not very often that he sees a helicopter hanging over the
lake, then dredge up a whale and tow it to shore.” “You can't do
this to us. It's illegal!” It was Mungo speaking. “Look whose
talking about legality,” someone said with a laugh. While Frank
distracted the detectives' attention, Joe gave the zipper a quick
jerk. “The monkey man!” Frank exclaimed. “Joe, he's the man in
the yellow coat!” Joe pulled the zipper shut before Stanley noticed
anything. The young detective's mind was racing.</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
“Yup, the woods is no place for kid
stuff. You've got to be on the lookout.” “Half the city of
London!” “Too bad,” said Nancy. “Ah, Bueno!” “Let's see,
what shall we get, coon hound? No. Too big. Blood hound? Too gloomy.
Basset? Too fat and its legs are too short.” “I can't wait to get
out west and try some of that Mexican food.</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
“You're in the money,” Joe quipped.
“What are you going to do with half of London?” “We'll tune her
up and she'll be ready to go.” Ned spoke up, “If Edgar Nixon is
as slick as you think, Nancy, I bet I know what his next move was.”
“Why you're a young lady now,” she laughed. “Say, take the
light out of a fellow's face,” he protested feebly. “And what
have you two done with my clothes?” “I'm glad I caught you boys.
I've been on the road since dawn, and uncovered one of the neatest
ways of defrauding the government I've ever run into. “Now see
here, young lady. You're not going to get rid of me that fast. Give
me ten dollars and I'll go.” “I guess you won't need it,”
Hamilton replied with a cheery grin.</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
<b>Round Three</b></div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
“All these chambers and passages were
hewn out of natural caverns by the abolitionists when they built the
cabin against the front of the rock wall.” Ira took a slip of paper
from the pocket of his bathrobe. “I've never believed in ghosts,
but now I'm afraid I do!” Meanwhile, Chet stowed the baggage in the
fuselage, finding a special place for his infrared camera. “This
mystery is turning out in reverse!” said Joe. The manager put
through a call and carried on a rapid, pleasant conversation in
Spanish. When he hung up he turned to the boys with a smile. “I
wouldn't want to start anything for the world.”
</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
Up in the control tower the operator
barked the orders into his mic. “That calls for extra big helpings
of strawberry shortcake!” Thurston glared balefully at the Hardys
but said nothing. “I don't approve of young girls having cars.”
There was no one in sight and finally she stood up and waded ashore.
A chill breeze struck her and she began to shiver. The young Hardy
pilot, the one they're after for causing the near-crash near Chicago.
The girls returned to the car. In vain they searched through the
throngs of people watching the parade.
</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
“I'll get you for this,” he
threatened. “That Edgar Dixon is a biagmist – or even a
trigamist?” “I hope it's not one of those self-locking doors.”
“What say we have lunch before we start?” “Oh, Nancy, you're a
genius!” “Are you sure?” “It's like a beautiful dream!”
“Were you friends with the deceased?” Ira Nixon slumped forward
in a faint! “Only six weeks more until my retirement and now this
disgrace!” “Maybe we can nail the men when they come out the
other end of the tunnel!” “Oh, who would want to do such a
thing?” “It's your turn, Chet! Get a soft spot ready on your
shoulder!” “It's my turn now.” “Do you suppose they'd be
offended if I left five dollars?” “Si, si! But be careful – por
favor! Nancy was happy over this and hoped the good relationship
would last!</div>
<div style="margin-bottom: 0in;">
</div>
Next Objectivistshttp://www.blogger.com/profile/17892004885586143465noreply@blogger.com0tag:blogger.com,1999:blog-3523377920789750482.post-76348775576921389642013-01-26T09:50:00.002-08:002013-01-26T09:50:55.401-08:00Next Objectivists Meeting Notes 17 January 2013
<div style="margin-bottom: 0in;">
The <span style="color: #990000;"><b>Next Objectivists</b></span>, founded in
January 2008, begin our SIXTH year as the world only 100% autonomous
Poetry & Poetics Workshop dedicated to the study &
reproduction of writing in the objectivist tradition—writing alive
to what we call the <span style="color: #990000;">OUTSIDEREAL</span>—with a six-session seminar devoted
to the production of a new piece of collectively produced objectivist
poetry.</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
During the first three sessions, we
read pairs of texts that adhere to a narrow set of “objectivist”
principles. All the texts are based on prior texts, which are
“edited” and juxtaposed in order to employ aesthetics in the
production of truths that emerge from and exceed the subjective
experience normally accorded to lyric writing.</div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
</div>
<div style="margin-bottom: 0in;">
During the first session of this
seminar, held on January 17, 2013, we read excerpts from Charles
Reznikoff's <i>Holocaust</i> & Eliot Weinberger's <i>What I Heard
about Iraq in 2005</i>. Both texts use objectivist poetic techniques
to investigate and intervene in knowledge making around horrific
historical events. In the first case, Reznikoff draws on Nuremberg
trial testimony to memorialize the holocaust, revealing the textures
of industrialized genocide. In the second case, Weinberger, one of
the few contemporary writers to cite Reznikoff as a mentor, draws on
newspapers and blog posts to intervene in the management of public
sentiment during the invasion and occupation of Iraq.
</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
<b>Here are some scattered notes from our
conversation:</b></div>
<b>
</b><div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
The importance of truth, compared to
facts. The “truth” of an event as a moral impulse that organizes
from among the collection of facts made available a principle of
orientation. In this sense, we are exploring the 'subjective' aspects
of objectivist poetics. We are worried abou the presumption of
universal truth and its relation to facts. What stance shall we take
to the production of “social realities” and their seemingly
inevitable failures? Immediately we notice how Reznikoff's writing
problematizes the truth – convincing yet leaving one asking
questions about the collective work of authorship that brings this
reality into the imagination.</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
Consider as an alternative approach the
stories of survivors articulated by Elie Wiesel. Perhaps upon reading
<i>Twilight</i> you thought the survivor would embrace life, but in
the end he decides to live with the lie. He lies precisely because he
doesn't want to live anymore. Were he to overcome the tragedy, this
would make you or me feel better. Regarding the subjectivity of the
reader of this fiction: you want the hope. You want closure, but not
the wrong kind.</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
Optimistic objectivity leaves open the
gateway to the truth.Pessimistic objectivity cancels the truth of the
event by launching the critique of universal slipperiness. It's claim
is always that there is no objective truth—ultimately a question
about whether or not a workshop based on objectivist poetics is
deconstructive or constructive—do we, in our desire for
objectivity, reveal its impossibility? Or create a collective
objectivity? Are you after mob action & genocide or are you after
the truth?</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
In Wiesel story: the question of
whether or not there's a point of living after the holocaust. The
anecdote of the survivor. The trouble with children. Killing the
child to save the family. Suffocating the wailing baby. The turning
of people into objects. “Realness,” in Reznikoff's poetry, is
depersonalized. The anti-septic nature of Reznikoff's testimony. The
oppressed in Reznikoff seems incapable of these things. They are
victims, caught in an absolute violence. Two forms of utilitarianism.
The blankness of the system of industrial warfare vs the blankness of
the moral parable, as in Wiesel.
</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
Or consider J. S. Prynne's point: The
question is always, what truth are we looking for? Truth has to be
confined. This is the kind of knowledge we want; people think of
truth as non-contingent. What qualifies as proof? In a
post-structuralist world, all we have is texts, constructed
realities. We can see the realities that are constructed toward us.
That face us; that we are made to face. Objectivity as a fantasy; its
actually intersubjectivity. THE IMAGINATION IS OBJECTIVE. (It grasps
the object in the language of the other.)</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
We consider the the aesthetic rules,
the techniques or mechanisms employed in Reznikoff's poem:</div>
<ol>
<li><div style="margin-bottom: 0in;">
Being mundane; stripping away the
emotions. When putting it into writing, you strip away the emotion.
Or is it stripping away emotion? You come to your own conclusion. No
interpretation for the reader. The images, scenes, scenarios
determine the emotions, rather than telling the reader how to feel.
Stripping away the adjectives. “The children screamed with fear.”</div>
</li>
<li><div style="margin-bottom: 0in;">
Refusal of parable; the rejection
of the operation of narratives. Reznikoff knows. The presence
through negation of the moral parable. He rejects the possibility of
communicating the barbarity of the event. Forces the imagination to
take over.
</div>
</li>
<li><div style="margin-bottom: 0in;">
The fragment, and seriality. Short
passages, perhaps from stopping before positive descriptions emerge
as subjective desire. The fragments do not share narrative.
</div>
</li>
<li><div style="margin-bottom: 0in;">
Vagueness of details. No names or
personal details. “Each in one camp or several. Stones or bricks”
“Perhaps merely to show” “Between five and twenty-five,”
“Sometimes” “If,” “Or even,” “some who were sent”
“if it was that kind” “but most”. Definitive statements that
emphasize the GENERAL. No names of people. No persons' names. Names
of death camps and cities, towns. The names that belong to the
event, but the event is a depersonalizing. Compared to names that
take the burden of representation, closing the event off. Details
that connect us through the anonymity, such as bodily details.</div>
</li>
<li><div style="margin-bottom: 0in;">
Strips out any effort at
justification. They're just doing it. They are just people doing it.
No causes or consequences. This anonymous element prevents the work
from being used for other causes. This approach applies a very
different kind of politics; a very different response. The 'subject'
in this case is objects. Trains and platforms, bags & clothing.
Impersonal nouns come to represent. The objects themselves resonate.
Shoes, fields. I've been to Dachau. When I was there, it was empty.
It didn't look like a place where people lived; they were not living
there. They were dying there. Like cattle. So here the objectivity
is found in the event.</div>
</li>
</ol>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
<b>Compare this to Weinberger's <i>What I
heard about Iraq in 2005</i></b></div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
The poem is based on hearing as
compared to seeing. Hearing rumors, information, rather than the
imagistic qualities of Reznikoff's imagism and quest for the punctum
of the scene. W cites percentages. Relies on quotations. Evokes an
entirely different temporal and geographical relation to event. This
is more political, less moral, because of its relation to the event's
immediacy? Note the research. Uncovering suppressed facts. The
linking together of details to produce “irony” (in the literary
and political sense). Urgency vs remembrance? If this doesn't work as
well, why not? For Reznikoff, there is no innocence. Weinberger keeps
a distance, whereas in Reznikoff you're implicated more. “I heard”
makes everything second-hand; distances him. Its clear that he wasn't
there. The quotations: second, or thirdly removed. A grim, burlesque
quality. Begins with references to the grand destruction of Babylon.
Then moves away from the General, epic narrative. The epic vs satire.
</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
We are dealing with two different
literary genres: epic & satire.
</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
The quotes lend a hand; people as
objects—in this case, because of the journalistic scrutiny. Quotes
are equivalent to R's images. The quotation is how they've been
materialized. Quotations provide character portraits. This text is
only successful if its understood as a future-oriented text. To
preserve some record of what happens so that it won't be forgotten.
The immediate, agitating, political discourse. Mock incredulity, vs
reading the text 30-40 years from now. Preserving the text of the
atrocity. Oriented toward the immediate future of the event or the
historical future of the event's inscription / conscription into
national history. What would it mean, for example, to get a copy of
Weinberger's <i>What Happened Here: Bush Chronicles</i> into the
collection of the George W. Bush presidential library?</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
This is still being said, absurd, but
the war is still going on. The bystander; the observer. Someone
should have done something in 2003. Feeling like we're listening.
</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
The mire; same old, same old. Still in
the middle of changing. In Reznikoff, people are under oath.</div>
<div style="margin-bottom: 0in;">
In Weinberger, its from the media.
Ostensibly true, but not necessarily. A 'real-time twitter' feed that
will sort itself out. Reliance on the media – it would take time to
uncover the 'subjective' truth, whereas with Weinberger its more
'subjective' in the bad way. Understanding based on taste.</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
Recalls HOWL. A manifest anger in
Weinberger. The paratactic structure conveys outrage. Yet it speaks
for itself. Uses their own propaganda against them. All the quotes
are accurate, deadly precision in the satiric barbs. Yet “I heard”
frames it at gossip.</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
Anonymity vs well known people and
proper names. A testimonial PRIOR to a TRIAL. VERY DIFFERENT RELATION
to the state. The function of the trail lawyer rather than the judge!
Stating the case. Is there an imperial remove in Reznikoff's
non-judgmental isolation of the horror that speaks for itself?
Reznikoff and the impossibility of justice. For eternity its just
this wound. All the 'forgotten' aspects have become a fact of life,
part of being a human being, vs W's fact of national life. R. is
dealing with representation and communication. “I heard” = this
is the social material that was being discussed. You can't approach
politics with an inherent innocence anymore. The childlike qualities.
The transparency.
</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
The childishness of parataxis as
expansion.</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
The use of proper names: in <i>Holocaust</i>
there are no 'reputable sources' but in Weinberger the names are
stated but are clearly not reputable sources. Holding open the
reality of what is being said: under scrutiny. “What I also heard
in 2005.” W's text could be added to. Something that is true of
“essay”: a test, putting to the test of something. Putting
leaders on trial, putting words to the test. “Road testing the
language.” Reznikoff: draws attention to the signifier in some
passages. Compared to Paul Celan: the absences. Reznikoff produces a
text about an experience that can't be written about. Weinberger
depends upon your embedded perception; perception is already
arrested. Its already laid out. Whereas in Reznikoff there's a wonder
& perception of what's happening. There is a possibility of
redemption that is not present in Weinberger's assault on the state.
Donald Rumsfeld: you can't even say that he's a good guy.</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
<b>Which of these texts would we like
to use in order to develop our practice</b>?</div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
Reznikoff, for literary reasons: crisis
of the lyric, to respond to the non-imagistic, non-collective quality
of contemporary lyricism. Lyricism can no longer come to the ability
to deal with this. Get out of Weinberger's problem by re-orienting
around Reznikoff. Trying to think through Reznikoff. If we try to
think through Weinberger we'll distance ourselves—not necessarily
the right way to think about things. Agreement: going to trials, back
to historical texts. Rape trials in the 1800s: the historical work of
reading through the trails. The distance of the past, the otherness
of the past to us? Emmet Till trial. The emotional detachment &
comfort. Begin with disinterest.
</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
Weinberger synthesizes multiple texts.
Reznikoff concentrates the text.
</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
Authorial presence. The voice
authorized to speak.</div>
<div style="margin-bottom: 0in;">
The right to ventriloquize.</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
Look at me I'm such a sensitive soul
who can care about the voices of history. Fuck yourself, all you care
about is your sensitive soul. We don't want to cultivate one's
individual interiority. Its narcissistic.</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
<b>What source texts might we choose for our
writing project</b>?
</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
Historical or Contemporary? A purposeful combination or juxtaposition of both?</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
<i>Some initial nominations</i>:</div>
<div style="margin-bottom: 0in;">
<br />
</div>
<ul>
<li>A data set at the ICPSR containing
information about every homicide in Chicago. Who is believed to have
done it where. Plus a code book explaining how to read the data.</li>
<li>Complete testimony of the Salem Witch
Trials. All history of the SWT has basically been written from these
documents.</li>
<li>Complete records of Old Bailey have
been put on line. All trials: “complete proceedings Old Bailey”.
</li>
<li>Writing with the manual. The
instruction manual of the present. Attempting to present a solution
with the text. Write from the point of view of the action –
creating the never-ending trial. Keeping it in the present. Art in
action.</li>
<li>John Burge torture trials: an on-going
problem. Sources of police brutality and conduct.
</li>
</ul>
<div style="margin-bottom: 0in;">
<br />
</div>
<div style="margin-bottom: 0in;">
Our NEXT MEETING WILL BE THURSDAY 31 JANUARY. We will discuss work by Paul Metcalf & Jorge Luis Borges. Readings will be sent to the e-mail list prior to the event. If you wish to join the Next Objectivists e-mail list, please send a message to nextobjectivists@gmail.com. </div>
Next Objectivistshttp://www.blogger.com/profile/17892004885586143465noreply@blogger.com0tag:blogger.com,1999:blog-3523377920789750482.post-3150333104867171352012-06-07T10:07:00.000-07:002012-06-07T10:07:09.214-07:00Summer 2012 Schedule<!--StartFragment-->
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<span style="font-family: Arial;"><b>Please
join the <span class="Apple-style-span" style="color: red;">Next Objectivists </span>this summer</b> as we continue to chart a poetics of the
outsidereal by reading, writing, discussing & eating & drinking our way
through a variety of texts. Our workshop is 100% autonomous & constantly in
flux; however, from time to time our collective semi-consciousness manifests
itself as a semi-coherent schedule. Now is one of those times. Take advantage
of it & join us for a summer program that vacillates between close readings
of modernist literary classics, like Joyce’s <i>Ulysses</i></span><span style="font-family: Arial;"> & Zukofsky’s <i>“A”</i></span><span style="font-family: Arial;"> & discussions of contemporary artists &
critical themes. In each case, we’ll read together, write together, & use
these texts to further our understanding of radical approaches to poetry &
poetics.<o:p></o:p></span></div>
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<span style="font-family: Arial;"><b>All
workshops are <span class="Apple-style-span" style="color: red;">free & open to the public</span></b>. Workshops begin in proximity to<b>
7:00 pm on Thursday at <span class="Apple-style-span" style="color: blue;">the Mess Hall</span> in Rogers Park</b>. The Mess Hall is located
at 6932 N. Glenwood Avenue, just a few stops from the Morse street Red Line stop.
<o:p></o:p></span></div>
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<span style="font-family: Arial;">More
information can be found on the Mess Hall website (www.messhall.org).<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6SbT5IlkmMMbRelnsPQAi_ObnTtYc9BXdQIP3C2L_hYvmQLbW8TEzcrLOU3bVNuQIlyociO9Na6UOSLxnWWWXhtbz-d_nHP56xNfY0YGieFn2UNHY20kjX2BFS0sIaPg3-QK4HKnngEw/s1600/images.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6SbT5IlkmMMbRelnsPQAi_ObnTtYc9BXdQIP3C2L_hYvmQLbW8TEzcrLOU3bVNuQIlyociO9Na6UOSLxnWWWXhtbz-d_nHP56xNfY0YGieFn2UNHY20kjX2BFS0sIaPg3-QK4HKnngEw/s1600/images.jpeg" /></a></div>
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<span style="font-family: Arial;"><b>JUNE 14</b></span><span style="font-family: Arial;">: Radical Banality part I: the case of “Eumaeus” in
Joyce’s <i>Ulysses</i></span><span style="font-family: Arial;"><o:p></o:p></span></div>
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<span style="font-family: Arial;"><b>JUNE 21</b></span><span style="font-family: Arial;">: Radical Banality part II: inside the outside in
Joyce’s <i>Finnegans Wake</i></span><span style="font-family: Arial;"><o:p></o:p></span></div>
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<span style="font-family: Arial;"><b>JULY 5</b></span><span style="font-family: Arial;">: "For oh, for oh, the hobby horse is
forgot": Navigating a Poetics of the Outside in Utopias & Queer
Discontentment, part I<o:p></o:p></span></div>
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<span style="font-family: Arial;"><b>JULY 19</b></span><span style="font-family: Arial;">: "For oh, for oh, the hobby horse is
forgot": Navigating a Poetics of the Outside in Utopias & Queer
Discontentment, part II<o:p></o:p></span></div>
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<span style="font-family: Arial;"><b>AUGUST 2</b></span><span style="font-family: Arial;">: Reading Zukofsky’s <i>“A”</i></span><span style="font-family: Arial;"> while Listening to the Minutemen, part I<o:p></o:p></span></div>
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<span style="font-family: Arial;"><b>AUGUST 16</b></span><span style="font-family: Arial;">: Reading Zukofsky’s <i>“A”</i></span><span style="font-family: Arial;"> while Listening to the Minutemen, part II<o:p></o:p></span></div>
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<span style="font-family: Arial;"><b> AUGUST 30</b></span><span style="font-family: Arial;">: Reading Zukofsky’s <i>“A”</i></span><span style="font-family: Arial;"> while Listening to the Minutemen, part III<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvpYWpIXUvUcZqR1ACLTZuCTxjL5j99l6vyLr2c_-h2A03bRU5zm-NCdxRBWvd3XOoo8-s1lH2H6_mVSaYNPze5w-_XuV05tHuF2XUjRt9n7gk_TORfORoLQk9crFI3fGVVWqVHuzrEPc/s1600/images-4.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvpYWpIXUvUcZqR1ACLTZuCTxjL5j99l6vyLr2c_-h2A03bRU5zm-NCdxRBWvd3XOoo8-s1lH2H6_mVSaYNPze5w-_XuV05tHuF2XUjRt9n7gk_TORfORoLQk9crFI3fGVVWqVHuzrEPc/s1600/images-4.jpeg" /></a></div>
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<span style="font-family: Arial;"><b>SEPTEMBER 13</b></span><span style="font-family: Arial;">: Regarding Vito Acconci as an Artist of the
OUTSIDEREAL, part I<o:p></o:p></span></div>
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<span style="font-family: Arial;"><b>SEPTEMBER 27</b></span><span style="font-family: Arial;">: Regarding Vito Acconci as an Artist of the
OUTSIDEREAL, part II<o:p></o:p></span></div>
<!--EndFragment-->Next Objectivistshttp://www.blogger.com/profile/17892004885586143465noreply@blogger.com0tag:blogger.com,1999:blog-3523377920789750482.post-48269568960937531792012-05-19T15:47:00.000-07:002012-05-19T15:50:49.698-07:00This Handbook, published under the auspices of the Senior NATO Love Conference (SNLC), is intended as a simple guide to love in NATO.<br />
<br />
<span style="font-size: large;"><br /></span><br />
<span style="font-size: large;"><b>This Handbook, published under the auspices of the Senior NATO
Love Conference (SNLC), is intended as a simple guide to love in NATO.</b></span><br />
<br />
<br />
<a href="https://docs.google.com/open?id=0B349JuJ88HH_d0xmUEE3d2FmYVU">NATO Love Handbook (PDF)</a><br />
<br />
<a href="https://twitter.com/#%21/NATOLoveHandBk">NATO Love Handbook (Twitter)</a><br />
<br />
With NATO as our peace-keeping organ surely all its outlined logistics are love.<br />
<br />
What a comfort to know our weapons = wishes, force = feeling,
logistics = love, arms = emotion, military = mother, territory = father,
staff = vagina, address = caress, means = memory, operation = optimism<br />
<br />
<span style="font-size: large;"><b></b></span><br />
<br />
<span style="font-size: small;"><br /></span><br />
<br />
<br />
<a href="http://www.nato.int/docu/logi-en/logist97.htm">(from <cite>www.<b>nato</b>.int/docu/logi-en/logist97.htm)</cite></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3523377920789750482.post-48387407551047603822012-01-04T06:45:00.000-08:002012-01-04T06:46:55.181-08:00Next Objectivists Meeting Thursday 5 January 2012Welcome to 2012, Next Objectivists!<br /><br />Join us this Thursday, January 5, for a workshop on Writing Machines. We will be reading RACTER's "The Policeman's Beard is Half-Constructed" (RACTER is a computer) <a href="http://dl.dropbox.com/u/55618239/racter_policemansbeard-1.pdf" target="_blank">http://dl.dropbox.com/u/<wbr>55618239/racter_<wbr>policemansbeard-1.pdf</a> and Christian Bök's analysis of the same, "The Piecemeal Bard is Deconstructed: Notes Towards a Potential Robopoetics." <a href="http://dl.dropbox.com/u/55618239/03_bok.pdf" target="_blank">http://dl.dropbox.com/u/<wbr>55618239/03_bok.pdf</a> Some ideas to think about: What is signification in the absence of intent? What are the implications of a poetic machine? Are robopoetics the ultimate Romantic antithesis, eliminating the ego? Will robots ticker tape us into obsoletion? To explore further, we ourselves will become a Writing Machine.<br /> <br />Welcome to the future.<br /><br />When: Thursday, January 5, 7:00 pm<br />Where: The Mess Hall at <span style="font-size: 9pt;"><b>6932 North Glenwood Ave., Chicago, Illinois </b></span>in Rogers Park<span style="font-size: 9pt;">. <br /> How: Free and open to the public!</span><br /> <br /><span style="font-size: 9pt;">The Next Objectivists is the world's only 100% autonomous poetry workshop dedicated to the study & reproduction of the OUTSIDEREAL. We meet approximately twice a month to read, write, eat & converse together about the poetics and politics associated with the Objectivist Poets and other writers who have refused the one person - one voice paradigm of professionalized poetry production.</span>Next Objectivistshttp://www.blogger.com/profile/17892004885586143465noreply@blogger.com0tag:blogger.com,1999:blog-3523377920789750482.post-88706060027301314742011-12-13T07:44:00.000-08:002011-12-13T07:47:10.253-08:00Join us this<span style="font-weight: bold;"> </span><span style="font-family: arial black,sans-serif; font-weight: bold;"><span style="color: rgb(255, 0, 0);">T</span><span style="color: rgb(204, 51, 204);">H</span><span style="color: rgb(51, 51, 255);">U</span><span style="color: rgb(0, 153, 0);">R</span><span style="color: rgb(255, 204, 51);">S</span><span style="color: rgb(255, 102, 0);">D</span><span style="color: rgb(204, 102, 0);">A</span><span style="color: rgb(204, 0, 0);">Y</span> 15 Decembe</span><span style="font-weight: bold;">r</span> for our<b> end-of-the year workshop party!<br /></b><br />We will continue our <span style="color: rgb(204, 0, 0);">seminar on conceptual poetry </span>with a reading & discussion led by <b>Special <span style="font-size:130%;">Guest Objectivist <span style="color: rgb(204, 0, 0);">Michelle Taransky</span></span></b>!<br /><br />We'll be discussing, among other things, the work of Kenneth Goldsmith (prior to his reading at The Poetry Foundation on Friday: <a href="http://www.poetryfoundation.org/programs/event/965" target="_blank">http://www.poetryfoundation.<wbr>org/programs/event/965</a>).<br /><br />Here are a few resources we might think about (rather than read) in relation to his work:<br /><br /><a href="http://www.believermag.com/issues/201110/?read=interview_goldsmith" target="_blank">http://www.believermag.com/<wbr>issues/201110/?read=interview_<wbr>goldsmith</a><br /><br /><a href="http://artsbeat.blogs.nytimes.com/2007/11/14/living-with-music-a-playlist-by-kenneth-goldsmith/" target="_blank">http://artsbeat.blogs.nytimes.<wbr>com/2007/11/14/living-with-<wbr>music-a-playlist-by-kenneth-<wbr>goldsmith/</a><br /><br /><a href="http://mediamogul.seas.upenn.edu/pennsound/authors/Goldsmith/Traffic/Kenneth-Goldsmith_Traffic_WFMU_Sept-2006.mp3" target="_blank">http://mediamogul.seas.upenn.<wbr>edu/pennsound/authors/<wbr>Goldsmith/Traffic/Kenneth-<wbr>Goldsmith_Traffic_WFMU_Sept-<wbr>2006.mp3</a><br /><br /><a href="http://mediamogul.seas.upenn.edu/pennsound/authors/Goldsmith/Fidget/01_Goldsmith-Kenneth_Fidget_10-00_2005.mp3" target="_blank">http://mediamogul.seas.upenn.<wbr>edu/pennsound/authors/<wbr>Goldsmith/Fidget/01_Goldsmith-<wbr>Kenneth_Fidget_10-00_2005.mp3</a><br /><br />As always, we meet at <span style="font-family: arial black,sans-serif;"><span style="color: rgb(204, 0, 0);">7:00 pm</span> at the <a href="http://www.messhall.org/" target="_blank">Mess Hall</a> in Rogers Park Chicago</span>. 6932 N. Glenwood Avenue, half a block south of the Morse Red Line station on the East side of Glenwood.Next Objectivistshttp://www.blogger.com/profile/17892004885586143465noreply@blogger.com0