tag:blogger.com,1999:blog-82785577060666715512024-03-13T13:26:23.664-07:00+|'me'S-pacechristinewhttp://www.blogger.com/profile/02230239170774859176noreply@blogger.comBlogger12125tag:blogger.com,1999:blog-8278557706066671551.post-77489858137715132712011-01-27T14:37:00.000-08:002011-01-27T14:42:40.816-08:00sh|t mOUth<style>@font-face { font-family: "Cambria"; }p.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0in 0in 0.0001pt; font-size: 12pt; font-family: "Times New Roman"; }div.Section1 { page: Section1; }</style> <p class="MsoNormal" style="text-align: center;" align="center"><b style=""><br /></b></p><p class="MsoNormal" style="text-align: center;" align="center"><b style=""><br /></b></p><p class="MsoNormal" style="text-align: center;" align="center"><b style="">Mm mm mm mm</b></p> <p class="MsoNormal" style="text-align: center;" align="center"> </p><p class="MsoNormal" style="text-align: center;" align="center"><br /></p> <p class="MsoNormal" style="text-align: center;" align="center">Me mouth |+’s full</p> <p class="MsoNormal" style="text-align: center;" align="center">|+’s full |+’s full</p> <p class="MsoNormal" style="text-align: center;" align="center">|+’s full of me e|es</p> <p class="MsoNormal" style="text-align: center;" align="center"> </p> <p class="MsoNormal" style="text-align: center;" align="center">e|e’s full of the mouth</p> <p class="MsoNormal" style="text-align: center;" align="center"> </p> <p class="MsoNormal" style="text-align: center;" align="center">e|e’s full of the-m-Outhers</p> <p class="MsoNormal" style="text-align: center;" align="center">e|e’s full</p> <p class="MsoNormal" style="text-align: center;" align="center">full full</p> <p class="MsoNormal" style="text-align: center;" align="center">mmmm mmm mmm mmmmm</p> <p class="MsoNormal" style="text-align: center;" align="center"> </p> <p class="MsoNormal" style="text-align: center;" align="center">e|e’s full of the-mmmmmm</p> <p class="MsoNormal" style="text-align: center;" align="center">e|e’s full of the mouth</p> <p class="MsoNormal" style="text-align: center;" align="center">e|e’s full of the-m-Outhers</p> <p class="MsoNormal" style="text-align: center;" align="center"> </p> <p class="MsoNormal" style="text-align: center;" align="center">the mmmmmm- m-Others</p> <p class="MsoNormal" style="text-align: center;" align="center">the Mothers <span style=""> </span>themOUthers Out-there</p> <p class="MsoNormal" style="text-align: center;" align="center">Outthhhers</p> <p class="MsoNormal" style="text-align: center;" align="center">Out here Out there</p> <p class="MsoNormal" style="text-align: center;" align="center">Out here!</p> <p class="MsoNormal" style="text-align: center;" align="center">mmmOUTtth<span style=""> </span>mmmOUTtth<span style=""> </span>mmmOUTtth </p> <p class="MsoNormal" style="text-align: center;" align="center">OUT!</p> <p class="MsoNormal" style="text-align: center;" align="center">E|e’s Out!</p> <p class="MsoNormal" style="text-align: center;" align="center">E|e’shout</p> <p class="MsoNormal" style="text-align: center;" align="center">E|e’shit</p> <p class="MsoNormal" style="text-align: center;" align="center">E|e shit</p> <p class="MsoNormal" style="text-align: center;" align="center"><span style=""> </span>E|e’shut</p> <p class="MsoNormal" style="text-align: center;" align="center"><span style=""> </span>Shit |t Out</p> <p class="MsoNormal" style="text-align: center;" align="center">‘S hit!</p> <p class="MsoNormal" style="text-align: center;" align="center"> </p> <p class="MsoNormal" style="text-align: center;" align="center">Mmm mmm mm</p> <p class="MsoNormal" style="text-align: center;" align="center">me|e MOUTHhhhhh! </p> <p class="MsoNormal" style="text-align: center;" align="center">me|e MOUTHhhhhh! </p> <p class="MsoNormal" style="text-align: center;" align="center">Get them OUT of </p> <p class="MsoNormal" style="text-align: center;" align="center">me|e MOUTHhhhhh! </p> <p class="MsoNormal" style="text-align: center;" align="center"> </p> <p class="MsoNormal" style="text-align: center;" align="center">mmmmmmmm</p>christinewhttp://www.blogger.com/profile/02230239170774859176noreply@blogger.com0tag:blogger.com,1999:blog-8278557706066671551.post-49049744796729064762011-01-27T14:33:00.001-08:002011-01-27T14:33:55.703-08:00theMOthers and the|r’Sones- work-in-progress<style>@font-face { font-family: "Cambria"; }p.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0in 0in 0.0001pt; font-size: 12pt; font-family: "Times New Roman"; }div.Section1 { page: Section1; }</style> <p class="MsoNormal" style="text-align: center;" align="center"><i style="">theMOthers and the|r’Sones</i></p> <p class="MsoNormal" style="text-align: center;" align="center"><i style=""> </i></p> <p class="MsoNormal" style="text-align: center;" align="center">Notes</p> <p class="MsoNormal"> </p> <p class="MsoNormal">The ‘society for Cum|’n linguistics, aka ‘sCUm, studies the life of those infested with an English tongue.</p> <p class="MsoNormal"> </p> <p class="MsoNormal">It does so by selecting words and phrases that embody key concepts in the English language and examining carefully what is produced when one plays (with) the multiple variations in the arrangements of their letters.</p> <p class="MsoNormal"> </p> <p class="MsoNormal">Concepts such as: time, space, me, |, the son, the One, the Many, the Mothers, them<span style=""> </span>any Others, the Other, the voice, the voids, sounds, wounds, here, not here, there, he, her, an Other, a not her, Not, <span style=""> </span>etc.</p> <p class="MsoNormal"><span style=""> </span></p> <p class="MsoNormal">Such a practice has been employed by many investigators of language in the past, of which perhaps the most well-known are Lucretius who worked in Latin, and Jean-Pierre Brissett who worked in French.</p> <p class="MsoNormal"> </p> <p class="MsoNormal">Some other thinkers have labeled such practices “folk etymology,” for this class of<span style=""> </span>methods stands outside the cannons of modern (academic) linguistics.</p> <p class="MsoNormal" style="margin-top: 12pt;">Nevertheless, they have been practiced across the ages and tongues, and have produced remarkable results, often very similar to those produced by the more officially recognized methods, (<i style="">cf- </i>Brissett’s conclusion that language is essentially a response to the emergence of sexuality and desire).</p> <p class="MsoNormal" style="margin-top: 12pt;">Whatever its history, this is the method adopted here. And here it is called Litteral Poetics.</p> <p class="MsoNormal"> </p> <p class="MsoNormal" style="text-align: center;" align="center">*****************</p> <p class="MsoNormal"> </p> <p class="MsoNormal">‘sCUm’s<span style=""> </span>first report <i style="">+|’me’S-pace,”</i> concluded with the hypothesis that there are only two familiar pro-positions to which those infested with an English tongue may be subject-ifi-ed.</p> <p class="MsoNormal"> </p> <p class="MsoNormal" style="text-align: center;" align="center">the pro-postion of the|’Sone</p> <p class="MsoNormal" style="text-align: center;" align="center">+</p> <p class="MsoNormal" style="text-align: center;" align="center">the<span style=""> </span>pro-position of</p> <p class="MsoNormal" style="text-align: center;" align="center"> </p> <p class="MsoNormal" style="text-align: center;" align="center">theMOthers.</p> <p class="MsoNormal" style="text-align: center;" align="center"> </p> <p class="MsoNormal">These (pro)-positions apply not only to the kinship structures and organizations of gender and generation in societies infested with an English tongue.</p> <p class="MsoNormal"> </p> <p class="MsoNormal">They also apply to organizations of class, i.e., the relations of economic and political power that determine each beings place in the international labor and commodities chains.</p> <p class="MsoNormal"> </p> <p class="MsoNormal" style="text-align: center;" align="center">***************</p> <p class="MsoNormal" style="text-align: center;" align="center"> </p> <p class="MsoNormal">In fact, <i style="">+|’me’S-pace </i><span style=""> </span>concluded that there are four possible pro-positions into which those infested with an English tongue may be subjectified.</p> <p class="MsoNormal"> </p> <p class="MsoNormal"><span style=""> </span><span style=""> </span>the|’sone<span style=""> </span><span style=""> </span><span style=""> </span>the –un-|</p> <p class="MsoNormal"><span style=""> </span><span style=""> </span><span style=""> </span><span style=""> </span><span style=""> </span><span style=""> </span>= theMOthers</p> <p class="MsoNormal"> </p> <p class="MsoNormal"> </p> <p class="MsoNormal"><span style=""> </span><span style=""> </span><span style=""> </span><span style=""> </span><span style=""> </span></p> <p class="MsoNormal"> </p> <p class="MsoNormal"><span style=""> </span><span style=""> </span>the Not-|<span style=""> </span><span style=""> </span><span style=""> </span>the Not-un-|</p> <p class="MsoNormal" style="margin-right: -0.25in;"><span style=""> </span><span style=""> </span>= the Other<span style=""> </span><span style=""> </span><span style=""> </span>a | which is not apart from the-Many-Others</p> <p class="MsoNormal" style="margin-right: -0.25in;"><span style=""> </span><span style=""> </span><span style=""> </span><span style=""> </span><span style=""> </span><span style=""> </span>but rather a part <i style="">of</i> the-Many-Others</p> <p class="MsoNormal" style="margin-right: -0.25in;"> </p> <p class="MsoNormal" style="margin-right: -0.25in;"> </p> <p class="MsoNormal" style="margin-right: -0.25in;">(NOTE- you can draw in a square here with arrowed lines pointing from the|’Sone to the other<span style=""> </span>three corners. I can’t do it in the new version of word.)</p> <p class="MsoNormal"> </p> <p class="MsoNormal">These four are related by the linguistic negations “Not” and “UN.” (The question of whether they constitute a formal mathematical group is outside ‘sCUm’s purview.)</p> <p class="MsoNormal"> </p> <p class="MsoNormal">Whilst there are four possible familiar pro-positions into which those infested with English may be subject-ifi-ed, the two lower cases are <i style="">not familiar</i> in such societies. That is to say, they are not widely held as <i style="">subject pro-positions</i>, even if they are often aspired to as utopian ideals.</p> <p class="MsoNormal"> </p> <p class="MsoNormal">In the view developed by Litteral Poetics, the (pro)-position of the Not-| is the (pro)-position of God and dog(s), (and possibly what some call the Father function?. That is to say, <i style="">no |, no-bodily-|, </i>occupies this pro-position <i style="">as a subject,</i> even if they may sometimes perform it is a function for others.** see Note below on “sexual difference.”) </p> <p class="MsoNormal"> </p> <p class="MsoNormal">The pro-position of the Not-un-| is, in this view, the pro-position of proper adulthood for those living amongst peers in a community.</p> <p class="MsoNormal"> </p> <p class="MsoNormal">The proposition of the|’Sone, is essentially the pro-position of a baby, whatever the age or other experience of the | thus subjectified.</p> <p class="MsoNormal"> </p> <p class="MsoNormal">The pro-position of theMOthers is essentially the pro-position of those who care for “babies,” whatever their age and experience, and however apparently distanced these may be from the|’Sones for whom they are caring.</p> <p class="MsoNormal"> </p> <p class="MsoNormal">Any subject <i style="">may</i> occupy any of the four pro-positions, and many probably do occupy different pro-positions in different aspects of their lives. For instance | might play the part of the|’Sone in relation to soMe particular other or others, and play the part of theMOthers for a different other/s. (The term “other” here is not to be taken as synonymous with any conception of The Other, including the one stated above.)</p> <p class="MsoNormal"> </p> <p class="MsoNormal">In the Litteral Poetic view, communally-minded <i style="">adults</i> aim most of the time, (i.e., except in relation to children and the infirm), to play the part of the Not-un-|, i.e., the role of <i style="">a</i> | which is a part of the Many-Other -|s. However, this is not the norm in current English-infested society, where the majority of subjects for the majority of their time adopt the roles of either the|’Sone or of theMOthers.</p> <p class="MsoNormal"> </p> <p class="MsoNormal">It is therefore incumbent on us to study these two pro-positions, and <i style="">the relations coming between them, </i>carefully.</p> <p class="MsoNormal"> </p> <p class="MsoNormal">This is the object of ‘sCUm’s second report, a work-in-progress, provisionally titled <i style="">theMOthers and the|r’Sones.</i></p> <p class="MsoNormal"><i style=""> </i></p> <p class="MsoNormal" style="text-align: center;" align="center">**************</p> <p class="MsoNormal" style="text-align: center;" align="center"> </p> <p class="MsoNormal" style="text-align: center;" align="center">** Note On the (pro)-position of the Not-|</p> <p class="MsoNormal" style="text-align: center;" align="center">+ </p> <p class="MsoNormal" style="text-align: center;" align="center">“Sexual Difference”</p> <p class="MsoNormal" style="text-align: center;" align="center"> </p> <p class="MsoNormal">At the moment I have little to say about this pro-position. I have not studied it at all.</p> <p class="MsoNormal"> </p> <p class="MsoNormal">However, in so far as I have a view on it for now, I believe that it is the (pro)-position of God and dog(s). That is to say, <i style="">no |, </i>or no bodily-|, occupies this pro-position <i style="">as a subject,</i> even if they may sometimes perform it is a <i style="">function</i> for others.</p> <p class="MsoNormal"> </p> <p class="MsoNormal">I believe that it may possibly also be the equivalent, in my schema, to what Lacan calls the Father function. (……It is very interesting to me that Lacan calls the Father a function, not a subject position. I think that is true. )</p> <p class="MsoNormal"> </p> <p class="MsoNormal">That is to say, <i style="">if </i>we are making a comparison between my schema and Lacan’s thoughts, which is not impossible I think, then my pro-positions of the|’Sone and theMOthers correspond to Lacan’s masculine and feminine subject positions. <span style=""> </span></p> <p class="MsoNormal"> </p> <p class="MsoNormal">My general deviations from his perspective as I understand it are that:</p> <p class="MsoNormal"> </p> <p class="MsoNormal">1)- these two are not the <i style="">only</i> subject pro-positions universally available. There is at least one more, the pro-position of the|’Sone, or rather <i style="">a</i> |<span style=""> </span>which is a part <i style="">of</i> theManyOther-|s, not a part <i style="">from</i> them, <span style=""> </span>(what I can the adult-peer pro-position),</p> <p class="MsoNormal"> </p> <p class="MsoNormal">2)- in so far as most people currently occupy one or other of these two, (the pro-positions of the|’Sone and theMOthers), they are not mutually exclusive in that any given individual can occupy one position in relation to some particular other/s and the other position in relation to different other/s. Thus many people are probably occupying both pro-positions a great deal of the time, albeit in different relationships. For instance, I may be a | of theManyOthers in my work-relationships, including being part of the literary “scene.” But in relation to those who are providing most of my material goods, (food, clothes, toasters, tv, Computers, etc.) I am most certainly in the position of the|’Sone. What I am in erotic relationships is something for others to determine, if they are that way inclined.</p> <p class="MsoNormal"> </p> <p class="MsoNormal">3)- the criteria that determine which pro-position any | is in with respect to their erotic relations may well be the difference between whether they view desire (both their own for others, and that of others for them) as:</p> <p class="MsoNormal"> </p> <p class="MsoNormal" style="margin-left: 0.5in;">a) (always) imminently about to fade (masculinity)</p> <p class="MsoNormal" style="margin-left: 0.5in;"> </p> <p class="MsoNormal" style="margin-left: 0.5in;">b)- (always) already faded (femininity)</p> <p class="MsoNormal" style="margin-left: 0.5in;"> </p> <p class="MsoNormal">However, this choice with respect to desire is only one aspect of subjectivity. And I would argue that in the 21<sup>st</sup> century English-speaking world it is fast slipping as the dominant aspect of subjection, whether it was before or not. </p> <p class="MsoNormal"> </p> <p class="MsoNormal">(As a last little point, I would like to say something on my work on Joyce, i.e, <i style="">Finnegans Wake, </i><span style=""> </span>which I have been increasingly about in the past couple of years, as opposed to <i style="">Watt,</i> which I thought for the previous 20 years. It is my view now that both the “subjects” whose voice is articulated in these two books represent different pro-positions with respect to desire. </p> <p class="MsoNormal" style="margin-left: 0.5in;">a)- the subject of <i style="">Finnegans Wake, </i><span style=""> </span>Shem the Penman, in view, may be characterized by the proposition “theMothers’ desire <i style="">never</i> fades.” It may ebb and flow, and even reduce to a trickle, but it <i style="">never</i> completely fades. (This may well be equivalent to what some people would label psychotic, but nevertheless it is pro-position to which an | may become subjectified with respect to its relation to desire.</p> <p class="MsoNormal" style="margin-left: 0.5in;">b)- the subject of <i style="">Watt</i>, i.e., Watt,<i style=""> </i>may also be characterized by the same pro-position. However, the never-fading desire here is the paradoxical desire for desire to cease, which of course, it never does.</p> <p class="MsoNormal" style="margin-left: 0.5in;"> </p> <p class="MsoNormal">Finally, a last small difference I have with Lacan is that I not only don’t think the penis is necessarily the organ take as the bodily representative of desire. I don’t think it even is for many people in the English-speaking world, <i style="">especially those who come from a culture where English is an imposed tongue, such as are, for example, the Irish. </i>In many such cultures, one’s tongue/s is experienced as a very powerful organ. And I believe that for many such people, including those articulated in the works of Joyce and Beckett, subjectification to the pro-postion of the|’Sone or theMOthers is predominantly determined by their perception of their relationship with the English tongue. That is to say, they identify with the pro-position of the|’Sone if they feel that they identify with the English tongue, and they identify with the pro-position of theMOthers if they feel that this tongue is lacking in them, that it is a foreign body to them. (See also M. NouBese Philips and Teresa Cha=[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[ <i style="">Dictee.)</i></p> <p class="MsoNormal" style="text-align: center;" align="center"> </p> <p class="MsoNormal" style="text-align: center;" align="center">**************</p> <p class="MsoNormal" style="text-align: center;" align="center"><i style=""> </i></p> <p class="MsoNormal" style="text-align: center;" align="center"><i style="">theMOthers and the|r’Sones.</i></p> <p class="MsoNormal"> </p> <p class="MsoNormal"> </p> <p class="MsoNormal">This book is currently mostly about how the|’Sones feel about theMOthers, with a small portion on how these feelings play out in their behaviour towards theMOthers. My nnnnnn<span style=""> </span><span style=""> </span><span style=""> </span><span style=""> </span><span style=""> </span>cially permitted to use their frustrations with (them)-others to practically (materially and psychologically) erect limits around them.</p> <p class="MsoNormal"> </p> <p class="MsoNormal">The corollary is that those subjectified into the pro-position of theMOthers are those who are socially not permitted to use their frustrations with (them)-others to practically (materially and psychologically) erect limits around them, and <i style="">also,</i> socially required to submit to the limits erected around them by the|’Sones. An example would be say that theMOthers are |s required to listen and affirm, rather<span style=""> </span>than hold forth and assert in conversations and other forms of discourse, whether public or private. The|’Sones would then be the |s permitted to determine the limits of the discourse, not just its topics, but the quantum and qualities allowed to each participant.</p> <p class="MsoNormal"> </p> <p class="MsoNormal">But though the book as currently shaping up is most about the|’Sones….mainly because so much more on this topic is available by</p> <p class="MsoNormal">availableit is crucially important.</p> <p class="MsoNormal"> </p> <p class="MsoNormal"> </p> <p class="MsoNormal">TheMOthers are those subjected to the pro-position of being the un-|s.</p> <p class="MsoNormal"> </p> <p class="MsoNormal"><span style=""> </span>They are |/subjects, because they have been subject-(ifi)ed.</p> <p class="MsoNormal"> </p> <p class="MsoNormal">But they are not subjectified to the pro-position of the|’Sone, </p> <p class="MsoNormal"> </p> <p class="MsoNormal"><i style="">QUESTION: What can theseMOthers, as beings subjected to the pro-position of being the un-|s say about themselves?</i></p>christinewhttp://www.blogger.com/profile/02230239170774859176noreply@blogger.com0tag:blogger.com,1999:blog-8278557706066671551.post-87400166573188237892008-05-02T13:40:00.000-07:002008-05-02T13:46:56.360-07:00quoi- Sock Puppet Play<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_5oPKbt4IHPs/SBt9nJdX1xI/AAAAAAAAACQ/Fam1rb_p7ao/s1600-h/SockPuppet-Card+copy.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://1.bp.blogspot.com/_5oPKbt4IHPs/SBt9nJdX1xI/AAAAAAAAACQ/Fam1rb_p7ao/s400/SockPuppet-Card+copy.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5195884706609485586" /></a><br /> <br />Christine Wertheim brings sock puppets<br />to The Manual Archives<br /> <br /><br />quoi is a dramatic exploration of the relationship between sound,<br /> body, sense and voice, performed with two sock-puppets, seven jellyfish, one<br /> blasted tree, two space-capsules and a balloon on a stick called<br /> Nigel. May 3rd is its world premiere.<br /> <br />May 3rd <br />8PM and 9:30PM<br />Come early or stay late<br />Please join us for a reception between shows 8:30-9:30<br />with live music and baked goods<br /><br />Tickets $8<br /><br />Buy Tickets for Quoi<br /><br />The Manual Archives<br />3320 West Sunset Blvd<br />Los Angeles, CA 90026<br /><br />MAP <br /><br />www.manualarchives.org<br /><br />spacer (1K)christinewhttp://www.blogger.com/profile/02230239170774859176noreply@blogger.com0tag:blogger.com,1999:blog-8278557706066671551.post-21680753473756314872008-03-29T20:01:00.000-07:002008-03-29T20:03:07.247-07:00Hyperbolic Crochet Coral Reefs in NY - Sunday April 6th - May 18The IFF's Hyperbolic Crochet Coral reef in NY, openning Sunday April 6th - May 18.<br /> <br />The 2 addresses for the reef exhibitions are:-<br /> <br />(wool reefs) Broadway windows at NYU (cnr Broadway + east 10th St)<br /> <br />(plastic reefs) + World Financial center, Winter Garden (220 Veseay Street, Battery Park City)<br /> <br />The openning reception is @ the Winter Garden Sun 3-6pm.christinewhttp://www.blogger.com/profile/02230239170774859176noreply@blogger.com0tag:blogger.com,1999:blog-8278557706066671551.post-19056705482240092212008-03-20T17:06:00.000-07:002008-03-20T17:41:04.424-07:00The Institute For Figuring<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_5oPKbt4IHPs/R-MChP_KRTI/AAAAAAAAACA/fs_mq6O18qs/s1600-h/zell4.jpg"><img style="cursor: pointer;" src="http://4.bp.blogspot.com/_5oPKbt4IHPs/R-MChP_KRTI/AAAAAAAAACA/fs_mq6O18qs/s400/zell4.jpg" alt="" id="BLOGGER_PHOTO_ID_5179986766656587058" border="0" /></a><br /><br />Christine also co-directs The Institute For Figuring with her sister Margaret. The IFF organizes presentations and exhibitions on the intersections of art and science.<br /><br />For the IFF, Christine has curated an exhibition of the work of Shea Zellweger, who has developed an alternative notation for deductive logic. The above picture is on eo the many wooden models Zellweger has made to render his conceptual system in plastic, embodied form. The exhibit is currently on display at the Museum of Jurassic Technology in Los Angeles.<br /><br />Currently The IFF is coordinating a Crochet Coral Reef, created by hundreds of women from around the world. Portions of this ever-evolving natural/cultural hybrid have been exhibited at the Andy Warhol Museum, and the Chicago Cultural Center. In April it will appear at NYU and the World Trade Building, NY, and in June at the Hayward Gallery, London.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_5oPKbt4IHPs/R-MAZv_KRRI/AAAAAAAAABw/oih1SfmE1o8/s1600-h/Orange-Coral.jpg"><img style="cursor: pointer;" src="http://2.bp.blogspot.com/_5oPKbt4IHPs/R-MAZv_KRRI/AAAAAAAAABw/oih1SfmE1o8/s400/Orange-Coral.jpg" alt="" id="BLOGGER_PHOTO_ID_5179984438784312594" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_5oPKbt4IHPs/R-MALf_KROI/AAAAAAAAABY/aXAuUoB7W9A/s1600-h/Long-Coral.jpg"><img style="cursor: pointer;" src="http://1.bp.blogspot.com/_5oPKbt4IHPs/R-MALf_KROI/AAAAAAAAABY/aXAuUoB7W9A/s400/Long-Coral.jpg" alt="" id="BLOGGER_PHOTO_ID_5179984193971176674" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_5oPKbt4IHPs/R-MALv_KRPI/AAAAAAAAABg/qUb5Kvy7amo/s1600-h/Creeping-Coral.jpg"><img style="cursor: pointer;" src="http://2.bp.blogspot.com/_5oPKbt4IHPs/R-MALv_KRPI/AAAAAAAAABg/qUb5Kvy7amo/s400/Creeping-Coral.jpg" alt="" id="BLOGGER_PHOTO_ID_5179984198266143986" border="0" /></a><br /><br /><br /><a href="http://theiff.org/">Click here for the IFF.</a>christinewhttp://www.blogger.com/profile/02230239170774859176noreply@blogger.com0tag:blogger.com,1999:blog-8278557706066671551.post-17418374975134780382008-03-20T16:58:00.001-07:002008-03-20T17:00:40.288-07:00Sample Poemes<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_5oPKbt4IHPs/R-L6gv_KRJI/AAAAAAAAAAw/aJz5CPPhaqc/s1600-h/_Vis-Po-%24-web--1.jpg"><img style="cursor: pointer;" src="http://1.bp.blogspot.com/_5oPKbt4IHPs/R-L6gv_KRJI/AAAAAAAAAAw/aJz5CPPhaqc/s400/_Vis-Po-%24-web--1.jpg" alt="" id="BLOGGER_PHOTO_ID_5179977961973630098" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_5oPKbt4IHPs/R-L6h__KRKI/AAAAAAAAAA4/UOJu6jkGRTk/s1600-h/_Vis-Po-%24-web--2.jpg"><img style="cursor: pointer;" src="http://2.bp.blogspot.com/_5oPKbt4IHPs/R-L6h__KRKI/AAAAAAAAAA4/UOJu6jkGRTk/s400/_Vis-Po-%24-web--2.jpg" alt="" id="BLOGGER_PHOTO_ID_5179977983448466594" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_5oPKbt4IHPs/R-L6i__KRLI/AAAAAAAAABA/qKHQfchPg5k/s1600-h/_Vis-Po-%24-web--3.jpg"><img style="cursor: pointer;" src="http://2.bp.blogspot.com/_5oPKbt4IHPs/R-L6i__KRLI/AAAAAAAAABA/qKHQfchPg5k/s400/_Vis-Po-%24-web--3.jpg" alt="" id="BLOGGER_PHOTO_ID_5179978000628335794" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_5oPKbt4IHPs/R-L6i__KRMI/AAAAAAAAABI/Z_1LUDRtLG4/s1600-h/_Vis-Po-%24-web--4.jpg"><img style="cursor: pointer;" src="http://2.bp.blogspot.com/_5oPKbt4IHPs/R-L6i__KRMI/AAAAAAAAABI/Z_1LUDRtLG4/s400/_Vis-Po-%24-web--4.jpg" alt="" id="BLOGGER_PHOTO_ID_5179978000628335810" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_5oPKbt4IHPs/R-L6jP_KRNI/AAAAAAAAABQ/ITEShI5zcUQ/s1600-h/_Vis-Po-%24-web--6.jpg"><img style="cursor: pointer;" src="http://3.bp.blogspot.com/_5oPKbt4IHPs/R-L6jP_KRNI/AAAAAAAAABQ/ITEShI5zcUQ/s400/_Vis-Po-%24-web--6.jpg" alt="" id="BLOGGER_PHOTO_ID_5179978004923303122" border="0" /></a>christinewhttp://www.blogger.com/profile/02230239170774859176noreply@blogger.com0tag:blogger.com,1999:blog-8278557706066671551.post-3596742255052322982008-03-19T17:52:00.000-07:002008-03-20T17:27:04.170-07:00The noulipian Analects<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_5oPKbt4IHPs/R-G-3v_KRII/AAAAAAAAAAo/cieATmrsXns/s1600-h/noulipo-poster.jpg"><img style="cursor: pointer;" src="http://4.bp.blogspot.com/_5oPKbt4IHPs/R-G-3v_KRII/AAAAAAAAAAo/cieATmrsXns/s400/noulipo-poster.jpg" alt="" id="BLOGGER_PHOTO_ID_5179630911436244098" border="0" /></a><br /><br />The noulipian Analects<br />edited by Christine Wertheim and Matias Viegener, Les Figues Press, 2007.<br /><br />An anthology of constraint and proceedure-based writing in English, including, Caroline Bergvall, Christian Bök, Johanna Drucker, Paul Fournel, Jen Hofer, Tan Lin, Bernadette Mayer, Ian Monk, Joseph Mosconi, Harryette Mullen, Doug Nufer, Vanessa Place, Janet Sarbanes, Julianna Spahr, Brian Kim Stefans, Rodrigo Toscano, Matias Viegener, Christine Wertheim, Rob Wittig, Stephanie Young.<br /><br />Praise for The Analects<br />"An Alpha bestiary of Exogeously Exotic essays and Dazzlingly Delectable Design, Completely Charismatic Constraints and Occasional Oulipian Outrages, Thoughtful theoretical threads and Ludicrously Ludic limits, Gutsy Gender Gaiety and Dantesque Destinies Detourned, Quixotic Queuneau Quests and Cocky Combinatorial Collisions, Real Rubber Roses and Rasiantly Removed R's...What We weary Wanton Woeful Whimsical Wanderers Willingly Want."<br />Charles Bernstein<br /><br /><a href="http://lesfigues.com/"><br />Click here to visit the Les Figues website</a><a href="http://www.blogger.com/lesfigues.com"></a>christinewhttp://www.blogger.com/profile/02230239170774859176noreply@blogger.com0tag:blogger.com,1999:blog-8278557706066671551.post-85665108410284858012008-03-19T17:09:00.000-07:002008-03-20T16:02:40.104-07:00+|'Me'S-pace book<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_5oPKbt4IHPs/R-Gs-__KRFI/AAAAAAAAAAU/NCDWCtLCJ7M/s1600-h/%2B%7C%27me%27S-pace+cover.jpg"><img style="cursor: pointer;" src="http://1.bp.blogspot.com/_5oPKbt4IHPs/R-Gs-__KRFI/AAAAAAAAAAU/NCDWCtLCJ7M/s400/%2B%7C%27me%27S-pace+cover.jpg" alt="" id="BLOGGER_PHOTO_ID_5179611244780995666" border="0" /></a><br /><br />+|'Me'S-pace, Les Figues Press, 2007.<br /><br />Juliana Spahr says: “Written in a time when many are questioning if we still need formalism and feminism, Christine Werthiem’s +|’me’S-pace, doc. 001.b is a spirited and fun defense of both. Written, in part, as a didactic instructional manual that cannot keep itself from constantly going astray into beautiful and challenging language play, this is a book that asks crucial questions and reconfigures recent histories. It is essential for its arguments.”<br /><br />Chris Kraus says: “|’me’S-pace begins with a simple proposition: select 9 letters of the English language (6 consonants, 3 vowels); arrange into words; and then, for enhanced flexibility, add an apostrophe. But nothing is as simple as it seems. Wertheim’s manipulation of these characters flows in a certain direction, so that particular words assert themselves, recurring. Other, mother, me, another, not other—language ends up where we want it to be. As William S. Burroughs once remarked on the cut-up method of text composition, “Random? Yes—but it’s my random.” Certain wills will out. (Language it seems is a matter of will, and the unconscious is not so inchoate. What happens, asks Wertheim, when language shifts from the impersonal to the personal mode? How do we ever do anything? These linguistic experiments yield results sometimes reminiscent of Ezra Pound’s forays into Old English within the Cantos. | Me is “wruptin‚ the space between” herself and another until the “I” erases itself, becomes love, becomes nothing. |’me’S-pace is an ambitious project, disclosing the spiral of language and being.”<br /><br /><a href="http://lesfigues.com/">Click here to visit the Les Figues website</a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_5oPKbt4IHPs/R-GsB__KREI/AAAAAAAAAAM/fl7b5FuRQec/s1600-h/%2B%7C%27me%27S-pace+cover.jpg"><br /></a>christinewhttp://www.blogger.com/profile/02230239170774859176noreply@blogger.com0tag:blogger.com,1999:blog-8278557706066671551.post-23218309471443906872008-03-19T17:07:00.000-07:002008-03-20T15:58:34.796-07:00Review of +|'me'S-pacePublished by Les Figues Press, 2007<br /><br />Reviewed by Benjamin Tripp in The Brooklyn Rail<br /><br /><a href="http://brooklynrail.org/2007/11/books/litteral-poetics">http://brooklynrail.org/2007/11/books/litteral-poetics</a><br /><br />Lit(t)eral Poetics<br />by Benjamin Tripp<br />Christine Wertheim, +|’me’S-pace (Les Figues Press, 2007)<br /><br /><br />|’me’S-pace’s task is to unravel language before our eyes. It is the first in a series of CalArts feminist/critical studies teacher Christine Wertheim’s open notebook investigations of the atomic elements of language; namely, the letters of the alphabet which as she says, “like musical notes only produce Sense when arranged in relational complexes, i.e. propositions…[and] compose into molecular or chord-like arrangements that we call words.” The book questions the ways in which our habitual use of them (to create words) may actually inhibit us from a deeper understanding of language, and results in a kind of censorship of the primal animate body that is the ‘English tongue.’ Through pure invention, |’me’S-pace is made as montage, and an extension of the modern day feminist critique of “the presumed unity of man…a dangerous fiction.”<br /><br />Where in both language and tone feminist icon Valerie Solanas’s violent call to feminist upheaval, The Society for Cutting Up Men (SCUM) Manifesto, chose to brandish language as a weapon, |’me’S-pace instead takes an inclusive approach, exploring the duality of the human body as it can be witnessed in the origins of how we speak, interact, and relate to our world through the English alphabet. In her work as co-founder of The Institute for Figuring, along with being a professor of linguistics/feminisms and critical studies at CalArts, Wertheim has worked to educate the public on the intricate biological/scientific make-up of different plants, insects, and other little-known mathematic phenomena in nature. In a way, |’me’S-pace seems to extract the sanity from Solanas’s manifesto, as the book’s introduction articulates, “In the society for cUm|n’linguistic’s litteral poetics [Why the extra ‘t’ in litteral? Litter as in a bed as in debris as in an accumulation over time, littoral as in seashore, as in the Latin littera, ‘letter.’] authourship/self is not singular but a society…U c m. You see m. Throughout the text ‘m’ is associated with me, with mothers, with the rhythm of time.” The book builds into its own form of sensuality, exploring just what it is that constitutes the embodiment of the ‘English tongue,’ while it seeks to revive the integrity of the English language as a body.<br /><br />Still, Wertheim recognizes a certain kinship with Solanas, and the book’s voice projects from a similar position of ‘nonplace’ that Solanas, as a social misfit who finally died homeless in San Francisco in 1988, was so excluded to. From the aesthetic perspective of verse, +|’me’S-pace reveals its words to be transparent, traveling through language to the point where, as Bellamy again writes in her introduction, “[it] collapses into shivers and sighs…a text that simultaneously clings and negates…pulses with waves of meaning, waves of being…”<br /><br />Too often we equate our relation to the rest of the world through our difference from it, the otherness we recognize in ourselves. I’m me because I’m not you, or better yet; I’m me because you’re not me. I’m the one because you’re the other. There is a policy of negation running rampant through language, and equally rampant, from the viewpoint of feminism, is the concept that to be a man one must not be a woman, be the ‘not-woman.’ (Don’t be such a woman, act like a man) that a man should be anything instead of that vacuity, that hole, the void.<br /><br />In +|’me’S-pace Christine Wertheim conceives of our language as prey to negation; with everyone struggling to define their-selves through difference, where instead one might be better off with a wholly inclusive body in mind; with every one of us as merely mobile, as modular.christinewhttp://www.blogger.com/profile/02230239170774859176noreply@blogger.com0tag:blogger.com,1999:blog-8278557706066671551.post-39909172616191594742008-03-19T16:39:00.000-07:002008-03-19T16:57:44.757-07:00Recording of Poetry Performance- Feb 2008This recording was made at the Center For the Arts, Eagle Rock, Los Angeles, Febuary 8, 2008, as part of "A Reading in Four Dimensions" organized by Mathew Timmons in conjunction with the art exhibition "Possible Impossible Dimension: Six Artists on the Brink of Abstraction"organized by Holly Myers.<br /><br />The series of nine poemes are performed as a sound continuum composed of fragments emerging from a voice in the process of discovering the vowellents in the English tongue.<br /><br />These fragments are from two books: 1)- "+|'Me'S-pace," published by Les Figues Press in 2007, and 2)- "m| s|ster + e|e," forthcoming in 2009.<br /><br />Both works are part of a larger project called "For Love Alone, Christina'S tead".<br /><br /><a href="http://theiff.org/timespace/XtineEagleRock.mp3">Click here to listen to the recording.</a>christinewhttp://www.blogger.com/profile/02230239170774859176noreply@blogger.com0tag:blogger.com,1999:blog-8278557706066671551.post-15607739418559177562007-11-12T13:43:00.000-08:002008-03-20T16:07:41.437-07:00Fragment of a Sock Puppet Play: Work In ProgressPlay to be performed April 26th, 2008, at Mechanical Archives, Sunset Boulevard, Los Angeles<br /><br />Fragment of<br />Play|n’ Field:<br />Sound Play 4 Sock Puppets<br /><br />Setting:- The Play|n’ Field<br />The field of the play|n’ is a space for recreation.<br />Recreation is play. Play is recreation.<br />Recreation Re-creation <br />REs creation.<br />To play is to bring something into being, again<br />and again and again<br />and again................<br /><br />Dramatis Personae<br />2 sock puppets, alternating.<br /><br />waaaaaaaaaaaaaaaa!!!!!!!<br /><br />eh<br /><br />waaaaaaaaaaaaaaaa!!!!!!!<br /><br />eh<br /><br />waaaaaaaaaaaaaaaa!!!!!!!<br /><br />eh!!!!<br /><br />Ohhhhhh.............eh.....A......a e | o u<br />AaaaaEeeeeee||||||||||OooooUuuuu<br />| O U<br />u u u u u u u u<br />you you you you you you you<br />YOU!<br />But whaaaaaa about<br />Meeeeeeeeeee ?<br /><br />no Meeee......<br /><br /><br />no Meeee<br />Meeee Meeee Meeee!christinewhttp://www.blogger.com/profile/02230239170774859176noreply@blogger.com0tag:blogger.com,1999:blog-8278557706066671551.post-26161084012451929032007-11-11T19:51:00.001-08:002007-11-11T19:51:38.303-08:00virginityHi mechristinewhttp://www.blogger.com/profile/02230239170774859176noreply@blogger.com9