Filed under essay | Tags: · activism, literature, poetics, poetry, politics, russia
“Combining poetry with protest actions and music, Kirill Medvedev is one of the leading exemplars of the new ‘civic poetry’ that emerged in Russia during the 2000s, and whose longer lineage, from the creative ferment of the 1920s to the hyper-individualism of the 1990s, he discusses in this essay.” (from the introduction to English translation)
First published in Translit 10-11, St Petersburg, 2012.
English and Spanish translations appeared in New Left Review 82, 2013.
Peresmotret rezultaty privatizatsii poezii: novaya paradigma angazhirovannosti (Russian, 2012), HTML repost.
Beyond the Poetics of Privatization (English, 2013)
Más allá de la poética de la privatización (Spanish, 2013)
Filed under essay | Tags: · art, computer art, computer music, computing, film, literature, machine, music
“Mechanistic muses are expanding their domain to encompass every facet of creative activity.”
In this article published in the June 1965 issue of Playboy, Bell Labs engineer, communications satellite pioneer and science fiction writer John R. Pierce introduces the work done in computer music, literature, film, and visual art, and issues an invitation to artists to explore and “school” the computer to yield new paths.
Published in Playboy 12(6), 1965, pp 124-5 & 150 & 182 & 184
via Forum on the Genealogy of MediaThinking (the website contains many scans of essays on media theory and archaeology)
PDF (14 MB)Comment (0)
Filed under book, essay | Tags: · literature, poetics, poetry
“First published in 1919 by Ezra Pound, Ernest Fenollosa’s essay on the Chinese written language has become one of the most often quoted statements in the history of American poetics. As edited by Pound, it presents a powerful conception of language that continues to shape our poetic and stylistic preferences: the idea that poems consist primarily of images; the idea that the sentence form with active verb mirrors relations of natural force. But previous editions of the essay represent Pound’s understanding—it is fair to say, his appropriation—of the text. Fenollosa’s manuscripts, in the Beinecke Library of Yale University, allow us to see this essay in a different light, as a document of early, sustained cultural interchange between North America and East Asia.
Pound’s editing of the essay obscured two important features, here restored to view: Fenollosa’s encounter with Tendai Buddhism and Buddhist ontology, and his concern with the dimension of sound in Chinese poetry.
This book is the definitive critical edition of Fenollosa’s important work. After a substantial Introduction, the text as edited by Pound is presented, together with his notes and plates. At the heart of the edition is the first full publication of the essay as Fenollosa wrote it, accompanied by the many diagrams, characters, and notes Fenollosa (and Pound) scrawled on the verso pages. Pound’s deletions, insertions, and alterations to Fenollosa’s sometimes ornate prose are meticulously captured, enabling readers to follow the quasi-dialogue between Fenollosa and his posthumous editor. Earlier drafts and related talks reveal the developmentof Fenollosa’s ideas about culture, poetry, and translation. Copious multilingual annotation is an important feature of the edition.”
Edited by Haun Saussy, Jonathan Stalling, and Lucas Klein
Publisher Fordham University Press, 2008.
ISBN 0823228681, 9780823228683
Fenollosa’s documents in the Beinecke Library.
Version published in The Little Review, 1919: 6:5 (Sep 1919), 62-64, 6:6 (Oct 1919), 57-64, 6:7 (Nov 1919), 55-60, 6:8 (Dec 1919), 68-72 (at Index of Modernist Magazines).
Version printed in Instigations, 1920, 357-388 (at Internet Archive), HTML (at Project Gutenberg).
Critical edition, 2008: EPUB.