:: END PUNKTURE ::

2012-01-30T20:24:00.000-05:00

here is not my best reading of parts of fault tree.

http://www.youtube.com/watch?v=G11yv1Rthb0&feature=related

2012-01-07T16:29:00.002-05:00

today i shall be translating the santa monica freeway into American Prose English.

and then into poetry.

a little piece of fault tree

2011-12-11T09:27:00.000-05:00

can be found here

2011-12-10T12:44:00.001-05:00

2011-12-06T22:47:00.001-05:00

2011-12-03T23:02:00.001-05:00

novel excerpt & research on freeways and urban renewal

2011-12-03T22:02:00.007-05:00

i've been spending my free time poring over books about freeway construction, urban blight, and fate as place (and the fate of places). in this new work, that is so far a novel and numbers 86 pages, the city and city planning shape every character and every action. so much so, that the map i make for each book i write, is... well... a map... the beginning of which is here:

the making of this is serving two purposes:
1. i've been getting lost inside my "city"
2. it is helping me to add more detail to the work
(3. it is hella fun to do this)

also reading jane jacobs, robert moses & bettina drew

here is an excerpt from the novel-in-progress (typos and all):

The peace of the coffin container, which was lined with soft fabric and fluffy, pillowlike material, was destroyed by a light so strong as to cause the raving lunatic of the man inside to collapse out of it and the coffin. It was a violent waking, not at all like the beautiful and silent peace one expects upon death.

Only the raving lunatic of a man thought himself dead, however. The SIC representatives had taken, as ordered, the coffin in which he was temporarily residing into Old Town, opened it and watched as fell from a standing position to the ground, face first.

They were standing in a vacant lot that had been overtaken by weeds and debris. The asphalt was cracked and much of it had been ripped away from the earth, exposing dirt and allowing the weeds to grow unhindered. Large granite rocks were strewn about the lot, having appeared from nowhere. The SIC representatives watched as the man fell; they were curious about whether or not physics functioned the same way on a raving lunatic of a man as it did on a perfectly sane, law-abiding man. It did. The man fell as any man would. He lay bleeding a little from the head at their feet. But they did not move to help him. They stood over him looking unnoticing, looking at the vast urban landscape – the hybrid landscape of urbanity and overgrown nature. The scene was so disorderly it confused them – yet appeared beautiful – which confused them even more. They had always known disorder to be incompatible with beauty. It was what made them so good at their jobs.

The lot, vacant – part lot part field – extended out and beyond its former (al) parameters. It was unseemly. The sun hit everything in it sharply. The glare off of a partially crushed aluminum can was blinding. Shards of glass glinted mixed with dirt, asphalt pebbles, various seeds, and ants. The fence, chain linked and concave or convex along certain edges, framed most of the lot in calcified metal in the most uncertain way, as if it was not sure whether it was to contain the lot or the places around the lot. Atop one full side of the fence was spiraling, frighteningly rusty barbed wire, protecting the lot from the unsavory elements. To one corner, long metal strips lay piled against a rusty bed frame against a bowing porting of fence - the most orderly objects in the lot. But this order, this small corner that the SIC representatives would have expected themselves to approve of, did not appeal to either of them. Instead, the pile of metal looked absurd to them – a pointless attempt at structure. They turned, as if one, to look at the corner opposite that of the ordered metal slats. Weeds had grown up high and heavy. Their thick tubing looked like the beginning of something human – it looked to contain organs and cells and functions beyond that of a weed. The SIC representatives felt compelled to move toward the weeds and reach out to them. The raving lunatic of a man began to groan. His blue shirt looked too neat, too well-pressed against the hard and rocky pavement beneath him. The dark red of his blood had begun to move down his face in tears. The two SIC representatives looked at him with much less wonder than they did the hybrid weeds and aluminum cans. They were supposed to leave him there. They were supposed to have left him bleeding or not bleeding on the asphalt already. They backed away, surveying the lot. Then they turned and ran. They ran from the beauty of it and the bleeding man, but their minds remained steady on the weeds in the corner opposing the order of the other corner.

*

the work

2011-12-02T09:17:00.001-05:00

Temper and Felicity are lovers can be read HERE.

The Stills can be read HERE.

fault tree won a prize

2011-11-28T19:58:00.002-05:00

First/Second Poetry Book Contest

Omnidawn 2011 First/Second Poetry Book Contest Winner

kathryn l. pringle — Book Title: fault tree

Poet kathryn l. pringle lives in Oakland, California. She received her MFA in Poetry from San Francisco State University. She is the author of one book of poetry, RIGHT NEW BIOLOGY (Factory School) and two chapbooks, The Stills (Duration Press) and Temper and Felicity are lovers (TAXT). Her work can also be found in the anthology Conversations at the Wartime Cafe: A Decade of War (Conversations at the Wartime Cafe Press/WODV Press) and in the forthcoming anthology I’ll Drown My Book: Conceptual Writing by Women (Les Figues). She is currently writing a novel about place.

The Finalists of the 2011 First/Second Book Competition (in alphabetical order by last name) are: Jill Darling, Mount Clemens, Michigan; Leora Fridman, Florence, Massachusetts; Eryn Green, Denver, Colorado; Jane Gregory, Berkeley, California; and Soham Patel, Pittsburgh, Pennsylvania.

2011 — Fault Tree by kathryn l. pringle Judge: C. D. Wright

2011-10-27T14:44:00.001-04:00

2011-10-27T14:41:00.000-04:00

2011-10-27T11:08:00.001-04:00

Liberate Oakland, Shut Down the 1%
GENERAL STRIKE & MASS DAY OF ACTION
Wednesday November 2, 2011

Below is the proposal passed by the Occupy Oakland General Assembly on Wednesday October 26, 2011 in reclaimed Oscar Grant Plaza. 1607 people voted. 1484 voted in favor of the resolution, 77 abstained and 46 voted against it, passing the proposal at 96.9%. The General Assembly operates on a modified consensus process that passes proposals with 90% in favor and with abstaining votes removed from the final count.

PROPOSAL:

We as fellow occupiers of Oscar Grant Plaza propose that on Wednesday November 2, 2011, we liberate Oakland and shut down the 1%.

We propose a city wide general strike and we propose we invite all students to walk out of school. Instead of workers going to work and students going to school, the people will converge on downtown Oakland to shut down the city.

All banks and corporations should close down for the day or we will march on them.

While we are calling for a general strike, we are also calling for much more. People who organize out of their neighborhoods, schools, community organizations, affinity groups, workplaces and families are encouraged to self organize in a way that allows them to participate in shutting down the city in whatever manner they are comfortable with and capable of.

The whole world is watching Oakland. Let’s show them what is possible.

The Strike Coordinating Council will begin meeting everyday at 5pm in Oscar Grant Plaza before the daily General Assembly at 7pm. All strike participants are invited. Stay tuned for much more information and see you next Wednesday.

november 3, 2011

2011-10-18T14:38:00.000-04:00

days

2011-09-28T00:34:00.001-04:00

6-8 am study biochemistry
8-4 work
4-6 study/eat
6-10 or 9 class
9-10 study

10-6 sleep

repeat.

all together

2011-09-06T20:05:00.001-04:00

Ac

The trouble with Ac was border relations.
Citizens were consumed (some might say subsumed) by geometry.

Ac refused the plane.

By which is meant: The field of their neighboring countries did not necessarily exist, but may be allowed to function—for a time.

The unacknowledgment of neighboring spaces based on one dimensionality appeared to be a sound argument. The acoustics of it may be right, but the translation of it rendered impossible - only Acitizens spoke the language of acoustical geometry and nobody along their borders comprehended.
Some compositions did escape (or transcend) but only in that most citizens had ears and could hear (usually only what they wished to hear). The fervor and the spirit of the thing remained a feature of the interior landscape. A scripted vocabulary of otherness was forcibly impressed into the left brain cavity's half shell of each Acitizen at birth, allowing for the continuation of Ac's congress dum aevitas desinit.

The founding persons of Ac knew that the naming of any space in a planar society was the ultimate colonization--vocabulary as conqueror--and the ministry of naming--with all the glory and pomp and circumstance that officials and ceremonies demand -- employed more than half the population of Ac.
It must be here made clear that this is explicit encore.

One note (which traveled by troupe of dancers out of Ac) became known as the manuscript. The manuscript was smuggled here and there. A man of violent projection and slanted opinion had manufactured the note and entitled it faux mathematica, but as it traveled it accumulated emendations to its title such as:

a public
consensual void
the sacred and the profane
noumena
criteria for interpreting experience

the dutiful lectures
refined nouns reserving all significance
on the issue of flags
and
methods as composition

Ultimately, however, the note became widely known in Ac's bordering countries as:
roulette and traits of connection.
Of course, within the borders of Ac, the title faux mathematica is still held dear and used in all proper circles, and no one would dare speak the title used in bordering countries unless they wanted their reputation and property demolished in entirety upon pronunciation of the third t.
Though it was written centuries ago and passed through the minds of many translators from many different times and places within Ac borders, most scholars agreed that faux mathematica was a work of genius and so it was required reading material for all high school students. (In fact, the second largest employer in Ac was the Ministry of Social Space and Translation. This department of Ac's government was also headquarters for its army.) Very few students ever saw the original text of faux mathematica as it was kept under lock and key and vault and armed guard at all times. Some original translations could be found if one had extreme patience and tenacity, but most official translations were burned as soon as a new official translation was composed. It was in this way that history was recorded in Ac and, though Acitizens were excellent architects and mathematicians, their cultural memories were short term making them especially treacherous to neighboring countries.

2011-09-02T11:58:00.003-04:00

"Demand for oil made from the pulp and seeds of oil palm trees in Southeast Asia soared when European countries sought to displace petroleum fuels with biofuel in the past decade. It was a move that governments hoped would reduce carbon emissions, but the impact was the reverse. Tracts of rain forest were cleared, and peat land was drained and burned on a massive scale to make way for oil palm monoculture. Because of the carbon emissions caused by rainforest destruction, Indonesia leapt to the top." http://news.nationalgeographic.com/news/energy/2011/06/110623-tapergie-sugar-palm-biofuel/">

2011-07-24T13:22:00.001-04:00

I'll Drown My Book is underway...check out its page on kickstart!

walk

2011-07-06T00:21:00.001-04:00

2011-07-05T22:33:00.002-04:00

2011-07-05T13:31:00.001-04:00

pretty much, the oscar grant verdict gave bart officers a license to kill.

read this bullshit

reviews

2011-06-23T14:38:00.002-04:00

i'm very grateful to mark wallace and his review of RIGHT NEW BIOLOGY.

and also grateful to will gallien for his review .

and here i thought nobody would read the thing...

i should probably mention RNB is on sale at SPD now, too... though it feels a little strange to sell RNB.

2011-06-14T10:28:00.001-04:00

left facebook almost two weeks ago.

don't miss it. at all.

2011-06-13T14:30:00.002-04:00

straight A's.

working
reading pale king
got trigonometry textbook and biology textbook from library to prepare for next semester's trig and organic chem classes
started an invitation-only reading series (first one went well)
have horrible cramps
not writing

2011-05-09T13:01:00.001-04:00

while i'm trying to pass my inorganic chemistry and stats finals... please do read my idol...hannah weiner.

2011-05-05T10:29:00.001-04:00

finals

Ac day 4

2011-04-30T09:36:00.002-04:00

Though it was written centuries ago and passed through the minds of many translators from many different times and places within A^c borders, most scholars agreed that faux mathematica was a work of genius and so it was required reading material for all high school students. (In fact, the second largest employer in A^c was the Ministry of Social Space and Translation. This department of A^c's government was also headquarters for its army.) Very few students ever saw the original text of faux mathematica as it was kept under lock and key and vault and armed guard at all times. Some original translations could be found if one had extreme patience and tenacity, but most official translations were burned as soon as a new official translation was composed. It was in this way that history was recorded in A^c and, though A^citizens were excellent architects and mathematicians, their cultural memories were short term making them especially treacherous to neighboring countries.

Ac day 3 : roulette and traits of connection

2011-04-28T22:56:00.002-04:00

It must be here made clear that this is explicit encore.

One note (which traveled by troupe of dancers out of A^c) became known as the manuscript. The manuscript was smuggled here and there. A man of violent projection and slanted opinion had manufactured the note and entitled it faux mathematica, but as it traveled it accumulated emendations to its title such as:

a public

consensual void

the sacred and the profane

noumena

criteria for interpreting experience

the dutiful lectures

refined nouns reserving all significance

on the issue of flags

and

methods as composition

Ultimately, however, the note became widely known in A^c's bordering countries as:

roulette and traits of connection.

Of course, within the borders of A^c, the title faux mathematica is still held dear and used in all proper circles, and no one would dare speak the title used in bordering countries unless they wanted their reputation and property demolished in entirety upon pronunciation of the third t.

Ac day 2

2011-04-27T10:06:00.004-04:00

Some compositions did escape (or transcend) but only in that most citizens had ears and could hear (usually only what they wished to hear). The fervor and the spirit of the thing remained a feature of the interior landscape. A scripted vocabulary of otherness was forcibly impressed into the left brain cavity's half shell of each A^citizen at birth, allowing for the continuation of A^c's congress dum aevitas desinit.

The founding persons of A^c knew that the naming of any space in a planar society was the ultimate colonization--vocabulary as conqueror--and the ministry of naming--with all the glory and pomp and circumstance that officials and ceremonies demand -- employed more than half the population of A^c.

Ac // work in progress

2011-04-26T16:26:00.004-04:00

The trouble with A^c was border relations.
Citizens were consumed (some might say subsumed) by geometry.

A^c refused the plane.

By which is meant: The field of their neighboring countries did not necessarily exist, but may be allowed to function - for a time.

The unacknowledgment of neighboring spaces based on one dimensionality appeared to be a sound argument. The acoustics of it may be right, but the translation of it rendered impossible - only A^citizens spoke the language of acoustical geometry and nobody along their borders comprehended.

away from the scene

2011-04-26T16:24:00.000-04:00

Time
Saturday, May 7 · 7:30pm - 11:00pm
Location
Viracocha SF
998 Valencia Street
San Francisco, CA
Created By
The Northerlies, PF Dumanis, Becky Uline
More Info
The Northerlies play their debut show, and the Matinees celebrate the release of their new LP, All These Days, with guest players.

Additionally, literary readings by L.E. Leone and kathryn l pringle will be taking place interspersed through the performances while the bands are setting up, and comic storyteller Rudy Waltz opens the show, so there will be lots of fun variety.

Hope to see you there!

Rudy Waltz - 7:50
kathryn l pringle - 8:15
The Matinees - 8:40
L.E. Leone - 9:30
The Northerlies - 10:00

$5 to $10 Suggested Donation

The Matinees: http://www.thematinees.com/
The Northerlies: http://www.thenortherlies.com/
kathryn l pringle: http://kathrynlpringle.blogspot.com/
L.E. Leone: http://www.sparklestreet.com/LELeone.htm

new work, new video

2011-04-25T14:20:00.003-04:00

new work here: http://bangoutsf.com/uncategorized/from-fault-tree-by-kathryn-pringle

new review here: RIGHT NEW BIOLOGY

source material

2011-04-17T12:29:00.002-04:00

reading Saturday April 16th in SF

2011-04-06T11:06:00.003-04:00

Amnesia
853 Valencia Street
San Francisco, CA
Created By
Bang Out Reading Series
7PM to 9PM

Identity constructs, dilemmas of modern technology, Facebook romance gone bad! Join us for BANG OUT Vol. XI: The Social Network to hear tales of woe and hilarity written on the theme "The Social Network."

New poetry and prose by readers kathryn l. pringle, Isaac Fitzgerald, Lee Stegner, Ashley Brim, Jesus Angel Garcia, Marc Olmsted and Ezra Fox.

kathryn l. pringle is an American poet living in Oakland, CA. She is the author of RIGHT NEW BIOLOGY (2009, Factory School), The Stills (Duration Press), and Temper and Felicity are lovers.(TAXT). Her work can be found in the anthology I’ll Drown My Book: Conceptual Writing by Women (2011, Les Figues).

Isaac Fitzgerald has been a firefighter, worked on a boat, and been given a sword by a king, thereby accomplishing three out of five of his childhood goals by the age of 25. He has also written for AlterNet, The Bold Italic, McSweeney's, and Mother Jones. He is the managing editor of The Rumpus.

Lee Stegner's stories have appeared in The Madison Review, Cream City Review, Crate, ZYZZYVA, and Franzine online. She received her MFA at San Francisco State University and now lives and writes in Pasadena, CA.

Ashley Brim has lived in eight states and 10 cities and has finally found home in the Mission District of San Francisco. She is currently writing a short story collection and a novel and is trying to find redemption for at least one of her characters.

Jesus Angel Garcia is the author of "badbadbad," a transmedia novel coming from New Pulp Press & PostPulp Productions on May 20, 2011.

Allen Ginsberg said "MARC OLMSTED inherited Burroughs' scientific nerve & Kerouac's movie-minded line nailed down with gold eyebeam in San Francisco." His book, WHAT USE AM I A HUNGRY GHOST? – POEMS FROM 3-YEAR RETREAT (Valley Contemporary Press, 2001), has an introduction by Ginsberg. For more of his work, visit Olmsted’ s website: http://www.marcolmsted.com/

Ezra Fox is an MFA Fiction student at SFSU working on a humble novel about the end of all time. He enjoys sandwiches and long walks on the beach that result in eating sandwiches. Ezra's work has been published in New Jersey Devil Press, Blue Moon, ezrafox.com, Precipitate. He enjoys writing in third person is the founder of the resume-bolstering blog "Legitimate Literary Journal." In his free time he reviews the worst books, movies, and TV for http://read-weep.com/. He has reviewed Twilight and Jersey Shore, and they have both ripped away a part of his soul that he'll never get back.

--

BANG OUT Reading Series provides writing prompts to encourage new work that is “banged out” for its readings. Hosting bi-monthly readings since October 2008, our aim is to inspire our readers to write and present work that’s fresh and spontaneous and to hear how some of our favorite writers interpret our prompts.

www.bangoutsf.com

2011-01-04T19:17:00.002-05:00

researching text complexity
finishing my Fault Tree Analysis ms
starting Statistics and Inorganic Chem classes
not running a marathon this year
slightly appalled by the sameness of things
at the same time comforted
thinking this is a stopover
thinking i made the right choice
think place can be etched
just as much as i can be

LLS Fundraiser

2010-08-11T18:46:00.001-04:00

I'm running for a cause this time....

I'm running the City of Oaks Marathon in Raleigh, NC on Nov. 7, 2010.

Anyone willing to part with 5 dollars or more....

or even a song suggestion for my iPod ... please follow this link!

LLS Fundraiser

2010-07-31T10:31:00.000-04:00

no more comments. you can email me if you want to talk.

2010-07-31T09:43:00.003-04:00

i almost have my brain back.

when it became apparent that i had limited time on the computer and television, and reading a book became stroke inducing.... i purchased DFW's The Broom of the System on iTunes.

it took getting used to - being read to.

but, it has been amazing.

DFW is so complicated that hearing the work can be forgotten while pushing through it. hearing the work has shown me how, not just ironic and witty, but down right SILLY, DFW could be.

2010-07-30T22:48:00.000-04:00

been migrained since Monday at 3pm. couldn't make the LA Factory School reading.
i have good drugs and patient bosses.

and i haven't seen my spider all week. he lives in the sun. the sun has been my enemy.

2010-07-25T10:02:00.002-04:00

reading at Beyond Baroque in Venice, Ca next Friday at 7:30 ....30 July, Friday - 7:30 PM

FACTORY SCHOOL POETS
FACTORY SCHOOL is a learning and production collective engaged in action research, publishing, media display and community service. Readers include ALLISON COBB, CATHERINE DALY, SUEYEUN JULIETTE, DEBORAH MEADOWS, SARAH MENEFEE, CAROL MIRAKOVE, KATHRYN PRINGLE, BRIAN KIM STEFANS, and DIANE WARD.

here's the link

2010-07-24T14:40:00.000-04:00

louis wolfson.

a spider 6

2010-07-24T03:06:00.002-04:00

2010-07-23T19:09:00.000-04:00

the spider moved again today.

a spider 5

2010-07-23T00:36:00.001-04:00

Click to Play

perspective
sound

a spider 4

2010-07-23T00:20:00.002-04:00

a spider 3

2010-07-22T10:49:00.001-04:00

Click to Play

sketch

2010-07-20T10:33:00.000-04:00

Cliffs (EMPTY) video.

2009-09-20T23:10:00.005-04:00

footage by Amy White

installation by Ken Rumble

rumble, day of opening, aka day 3 of questions.

2009-09-18T12:43:00.003-04:00

ken working on Cliffs (EMPTY). photo by Chris Vitiello.

pringle:A lot of what you are saying here rings [in my mind] to Shklovsky's [and others] defamiliarization.

"The purpose of art is to impart the sensation of things as they are perceived and not as they are known. The technique of art is to make objects ‘unfamiliar’, to make forms difficult, to increase the difficulty and length of perception because the process of perception is an aesthetic end in itself and must be prolonged. Art is a way of experiencing the artfulness of an object; the object is not important." (Art as Technique)

Some of us Durhamites were lucky enough to have the time to go see a Jed Rasula and Jerome Rothenberg lecture on Picasso and Poetry [poets, too] last night. We got to live inside a space of sights and sounds narrated to us... [i had to close my eyes a lot so i could really see]. But, Jed mentioned something about how common it is for audiences / viewers to go "text blind" [or maybe this is me hearing Jed through my own furniture] when viewing dadaist or futurist or psychographic poems.

How much of these ideas inform yr work?

I think what has been so appealing and satisfying to me about yr work is the way in which you are able to be both absent and present... simultaneously [even with Cliffs (EMPTY) you will be hidden and incommunicado but also fully present]....

[is this a question?]

rumble:Hmm, I'm curious about what Jed meant about "text blind" -- like I think I can guess, but would love to hear more about it. So he thinks people become unable to see or engage the work? or that the use of physical letterforms get defamiliarized such that the letter image becomes "just" image? That would be a great thing to do.

Not really all that familiar with Shklovsky actually, so I appreciate the point in his direction -- seems very close to what I think about, want to do, hope I accomplish.

A few small quibbles with that quotation is that I don't really necessarily think "difficult" has to enter into the equation. I know there's a lot of ways to read that word (Randall Jarrell's essay on the "difficulty" or poetry is one that engages that word in a useful way I think), but I'll take the common usage of it. I think that objects, writing can be made that accomplishes what Shklovsky describes while also being really compelling and seductive to audiences both familiar and unfamiliar with the genre/discipline. [Maybe I'll leave it at that for now in hopes you ask another question about it (smile.)]

So that's one quibble -- the other is that I think the object and its artfulness cannot be separated; this is another problem of language -- it's ability to reify ways of thinking about things into actual things themselves. We have words for "outside" and "inside", but those are totally arbitrary ideas, right? Beyond the arbitrariness of links between signifier and signified -- "outside" / "inside" is a language game in the vein of (my amatuerish) reading of Wittgenstein -- the apple is not red.

So words can make one thing (an object which includes its artfulness) appear to be two things (an object and its artfulness) and then we talk about these things and we're just shaking hands with phantoms.

Totally love this "to impart the sensation of things as they are perceived and not as they are known." Hell yeah.

pringle: I think Jed meant that the poems were "unreadable."

rumble:Like the author's wanted them to be unreadable? or that the work "failed" somehow?

pringle:Hmn...

like... unreadable as words.

not so much failure. i'm not sure about intent. either. see this link

today is Rumble's show.

2009-09-18T07:54:00.004-04:00

i'm going to try and get him to answer one more question. maybe two. before it opens.
here's the info, from Ken's announcement:

I'm very excited to announce and invite you all to my first ever art installation TODAY, Friday, September 18, from 7:30 to 10 pm at 715 Washington St. in Durham, a part of Durham's monthly 3rd Friday Art Walk.

"Cliffs (Empty)" is an interactive site- and time-specific work that involves the altered environment of the 715 Washington studio space and musical and non-musical performance.

The piece will be open and in existence for two and a half hours though my expectation and intention is that people will drop in and out throughout the duration of the piece, spending perhaps 15 to 30 or so minutes with the work.

Big thanks to my collaborators on this project: Megan Stein, Chris Vitiello, Jen Walker, Molly Renda, Abby Pearce, kathryn l. pringle, Stefanie Conrad, and many others.

I hope you all can make it! Spread the word and bring some friends!

Sound & still & moving image recording permitted.

day 2: rumble

2009-09-17T12:32:00.001-04:00

pringle: It seems to me that the action of creating / the process // something that is "contentless" and "indivisible" is a huge challenge... and by challenge i mean exciting & manic-work inducing joy... it will be interesting to bring this up again after the show on Friday and see how you feel about it.

my question is, it seems to me that you would have to create something that resisted time & place and stood as pure experience for this to be accomplished....

i'm not even sure that's true... it is just my intuitive response... but it seems like with this project and yr music and yr poetry there is an attempt at a concerted and continuous PRESENCE.

how does that strike you? do you think that's true? and, also, what role does the audience play in this...?

rumble: Yeah, it's a huge challenge -- one that's probably impossible really; part of the way I address the challenge is to make the work really time and place specific -- it will really only exist for 2.5 hours from 7:30 to 10 on Friday, September 18, at 715 Washington St. in Durham. After that, it's gone.

So I don't know that I'd say the piece needs to resist time and space so much as embrace it -- to try to make something (or be open to receiving and relaying something) that is an inextricable part of its world while also creating its own world.

Cliffs (Empty) is really based on and is possible because of the architecture and existence and availability of this enormous empty space. So what I'm creating in that space is kind of contrary to the space (in that I'm going to fill it almost completely) and complementary to the space (because I couldn't fill a small room with so much stuff).

And then beyond that, I've tried to curate (I suppose) as much of the experience of the piece as possible -- so instead of like hanging a piece in a gallery and then stepping away; the piece that I'm making includes some physical construction, musical construction, the way people are first received into the piece, what they see approaching the piece, etc. I've tried and am trying to shape as much of the experience as possible.

And that desire to shape isn't (oddly?) tied to an "idea" other than that I think the experience of an artwork (or experience maybe generally) is something that starts long before you see a piece and maybe doesn't stop till long after.

I started experiencing the Mona Lisa for example as a very small child and experienced it (representations of it) for many years before I finally saw the actual piece. So part of creating that big, indivisible, contentless piece is in making sure (as sure as one can) that conscious decisions have been made about as many aspects of the experience as one has control (however relative) over.

That said though -- there's going to be a lot of chance and randomness in the piece as well -- there will be musical performance occurring which will be largely improvised. The non-musical performers have some vague instructions, but not a script exactly.

So for me, it's about creating, curating, arranging as much as you can and then letting life happen within/around/through the piece.

Yeah, I am interested in presence, in being there and awareness. Sort of like what I was writing about in reference to David's thoughts about meaningless language. The problem (for me, what I see as a problem) is that language allows us to move through the world and actually not pay attention -- words are like a substitute for attention.

And so we (I) pass over and ignore and don't see amazing, amazing things happening all around us, so creating unusual spaces, images, phrases I think roughs up that smooth track we've worn while at the end of our chains.

It makes us (I hope) pay attention and learn how to pay attention and what things it might be possible to pay attention to that we had to that point not even considered as things to possibly pay attention to. And so be open and present and aware of ourselves and worlds.

So the audience here is .... hmmm.... I guess I think the audience makes choices to pay attention or not pay attention -- I think some will and some won't. In this particular piece the audience is going to become a part of each other audience member's experience in perhaps a really dramatic way actually. I think I'm laying out a plate of food and maybe they're hungry and maybe they're not. It's not really my place to decide what an audience needs, so much as it's my place to give the best of what I have to offer.

As someone who reads a lot and enjoys many varieties of artworks, I'm really grateful to the people who have given what they had to offer to the world. I don't know how what I have to offer ranks in the scale of greatness or whatever, but I want to do my part and I enjoy doing my part to offer something to the world, to people that they might enjoy, learn something useful from.

I don't mean to be dismissive of audiences -- I love people and care about them, which is part of why I make my work public, but I think that there's a place at which my ability to influence an audience and "give them" something ends and their autonomy begins, and I value and enjoy other people's autonomy. It's what gives my work that experimental feel -- like "what if I build this crazy space and play some music and invite a bunch of people? what will they think? how will they negotiate this experience?" Those are questions I find really fun to get answers to and to wonder about. So on some level the work doesn't exist without an audience.

[post]

rumble:One more thing about audience and the public nature of art is that I find it hugely important that art/experience be a place around which people can come together and interact over a shared experience. That aspect of artworks for me is equally important to whatever kind of more internal experience someone might have.

(And honestly, that's part of the pull, for me, towards physical work that is manifested as a specific time and place (and why I ran a reading series) -- as opposed to a book or digital art that can be reproduced and spread. Of course people still come together around books and digital art, but I prefer the face-to-face thing.)

comments

2009-09-17T12:05:00.002-04:00

hey all --- i have temporarily turned the comment channel off because i really want to have some time "alone" with ken while i work through my own thoughts, as well as kens, re: ART. i chose ken as my first interview ever because i find his projects compelling and pertinent... and i find him someone i feel comfortable talking to about difficult subjects. i will reopen the comments when i have completed my own investigations and feel like opening up the conversation to audience participation can take place.

i just don't want you all influencing my thoughts at this stage... at the same time... i wanted to emulate ken's art practice by going moment-to-moment.

thanks.

a few days of Rumble-- an interview w/ Ken Rumble regarding Cliffs [ ] his new art installation

2009-09-16T16:02:00.005-04:00

the next few blog posts will be a series of Q & A w/ Ken Rumble[poet, artist, musician, all-around rad dude]inspired by his upcoming art installation at "the Space," a former garage / warehouse space just off the skirt of downtown Durham. the show is up and ready to investigate this Friday at 715 Washington starting at 7:30 pm, rain or shine. maybe you'll learn more about it before that time rolls in... here's the first exchange....

kate pringle: hey ken, cliffs [ ] is up Friday... can you tell me a little about the project and how it has evolved?

ken rumble:
Well, the project is a time- & place- specific piece that I conceived in relation to the musical projects I've been working on with several local folks and our acquisition of this enormous, 2400 sq ft, very raw, studio space. The music we (Chris Vitiello, Meg Stein, Tony Tost, Brian Howe, Ashley Howe, and myself) play is largely improvisational and atmospheric. We have several loosely organized groups/bands, but we don't really have much/any aim to present those projects in any kind of conventional music-venue type way, so thinking about how to present that music live led me to the idea of Cliffs (Empty).

In terms of evolution -- mostly it's been logistical evolutions. The idea really came to me pretty fully formed. So the changes have been the result of availability of materials, the literal geography of the studio space, time, ability, etc.

But the basic idea hasn't changed much.

pringle: well, let's back up then. what is the basic idea behind Cliffs (Empty) or cliffs [ ]? [should i just use the blip from yr fb announcement and then give you a different question? sorry. and. DUH kate.]

rumble: Well, I can't really say that there is an idea behind Cliffs (Empy) (though I rather like the Cliffs () construction too btw -- hadn't thought of that).

I struggle a lot actually with the idea of there being ideas behind things -- it just really irks me; I want to create things that are things in and of themselves -- not really divisible, not summarizable -- artifacts/experiences that have to be experienced and communicate the conscious act and experience.

This irritation has a lot to do with my work on the poetry piece 24 Hour Breakfast. I began to be really frustrated with language and by extension poetry because there was (at least from critics, from a readerly perspective) some idea about what a work might be about, that there was something "inside" the work to be "discovered." These ideas are of course rooted in the idea that language is a conveyor of information -- a box into which one puts meaning and sends out to someone else for interpreting, for understanding, so that they can get the "meaning" "contained" in the "words."

I wanted to create something beyond (forgive the spatial metaphors) that, create something that was indivisible and contentless for which no interpretation, "unpacking" was really necessary. Which is not to say that I wanted to create something so simple that "anyone could understand it" -- I really just wanted to break down a whole convention about thinking about language. It's a project that many (most) writers are engaged in (perhaps that's ironic?) and certainly the writers I love are engaged with that.

So visual and performing arts for me have become very attractive because -- while there's still the critical language surrounding those disciplines about "understanding" and "meaning" -- objects, colors, sounds, etc. are (I think) so much more concrete (a blender is a blender) and abstract (what does G sharp mean??)

The idea behind Cliffs (Empty) is to make something cool/interesting. If there's a reference point for me, it's the experience I had as a child of crawling through racks of clothing at department stores.

I know, of course, that people experiencing the work will likely interpret it in various different ways and that it will "mean" various things to various people -- and all that is fine and unavoidable. I do it with other's artwork all the time. It's really just that as an artist, as a creator -- I didn't want to start with some "idea" that I wanted to "communicate." If I had an idea like that, why not just write it down? I hope Cliffs (Empty) cannot be easily summarized.

On the other hand, part of my motivation for the piece comes from ideas I have about art, experience, music, geography, people, etc., so I'm reacting/thinking about a lot of different things, but those thoughts don't create in me an idea but rather inform this work which I largely think of as an experiment (like most of my work), so "what if I do......" is kind of the way this piece came together.

2009-09-11T21:43:00.001-04:00

hurt my foot.

i blame blogging.

got my reservations....

2009-09-10T12:34:00.000-04:00

Picasso Poetry Evening

Thursday September 17, 2009
6 PM

Readings by poet, editor and translator Jerome Rothenberg and Jed Rasula, the Helen S. Lanier Distinguished Professor at the University of Georgia, Athens. Seating is limited. Reservations suggested.

tuesday & wednesday

2009-09-10T07:28:00.004-04:00

Jamie still had bronchitis Tuesday, and i didn't feel like running alone for an hour.

i should say that the program i've been following breaks the week up as follows:

M : easy run [those go by TIME, not MILES and get progressively longer throughout training. now it is ONE HOUR]

T: cross train [i bike and do crunches / push ups or take really long walks]

W: tempo run // hill charges [these are exhausting]

Th: cross train or rest

F: rest

S: long run

Sun: Rest

this program can be found in Marathoning for Mortals. it is the Run Marathon program. there is also a Run/Walk Marathon program. up until the 14 miler i was thinking all RUN for the marathon... but, after talking to a few others about their first Marathons and the mistakes they made... each one said that they should have included some walk time. so. i am going to test out some run/walk ratios on the next few long runs and see which one feels good.

most people have suggested run 6 / walk 1 [that's minutes, not miles].

anyway...

Tuesday i didn't feel like running alone so i put a call out to the Poets and they showed up to run with me. Vitiello, Rumble, and Stein all met me at the track to run. each had their different time allowances and paces. but they were there for me and that felt really good. [they are also going to the marathon with me. i have really amazing people in my life. i'm very lucky.]

i like running alone a lot. i can get a lot of thinking or not-thinking done. sometimes running is even more relaxing than sleeping for me. my brain can completely shut off and i'm just moving matter in space. not more.

i'm not so good with constant people time. i think running and poetry suit me for this reason.

so, i ended up running for 70 minutes. around Duke's East Campus 1.5 times and the from there to Duke Chapel [on West Campus] back to East and then home. i think that ends up being somewhere between 6 and 7 miles, which felt like NOTHING after 14.

last night i went for an hourlong bike ride. it felt good. it felt really good. after a long day at work? it was amazing.

i was exhausted. i slept well. even though i've been too tired to communicate properly or understand anybody else's english.

today i need to decide if i am doing hill charges or a tempo run. Saturday is only 8 miles [only. you know... i've only been running since February 2008.... it wasn't so long ago running ONE mile felt like a major accomplishment.] i'm going to leave it up to Jamie. if he's back today.

the NFL begins tonight. i hope to be awake through the first half.

i think i'm maybe putting my dinosaur through some rough patches that dinosaurs really don't need.

i can be really hardcore about things.... maniacally hardcore.... i think my friends have noticed. i am demanding and taxing.

it is good in that i can do things like train for a marathon or write a long poem or stay in relationships... it also makes them difficult and rigorous and sometimes maybe it is good to take a little vacation and just watch movies.

which reminds me... i've noticed that since NFL preseason and Tennis started on the TV... i'm totally not watching my Netflix movies. maybe i only need Netflix from the end of Hockey season until the beginning of Football season?

they should have a program for that.

running now.

2009-09-08T09:43:00.002-04:00

hi.

i took the summer off to figure out some things about blogging.

mostly, i just want to talk about running right now. so. i'm gonna do that.

Saturday i ran 14 miles. the last three miles were rough. i ended up starting an hour later than i intended, my training partner for the marathon [Jamie] was sick, so he could only do 4.5 miles... Guillermo met me at noon for what was supposed to be my last 4.5 miles of the 14, but, bc we started so late, it was my second lap.

i had expected it to be mid-80s but it was low-90s. the energy i had at the end of the first lap [4.5 miles] was gone by the time i started out with Guillermo. i think it was too long of a pause between Jamie figuring out he was really too sick [he has bronchitis!] and Guillo getting to the track. i got stiff.

so, i had to eat and hydrate more than i intended [late start means breakfast doesn't last as long means warmer weather means more fluids...] and when i dropped Guillo off before my third lap i was tired.

very tired.

i had to walk more than i wanted, again. and i began to get tight and sore .... by mile 13 i could feel the blisters, i thought maybe i had a small rock in my shoe because i could feel it poking into my foot... but i was afraid to take my shoes off and check. i wasn't sure i'd get them back on and i knew if i was bleeding i wouldn't finish all 14 miles... i'd want to baby myself. so i kept going. my stepmom called about my Dad during mile 12 and i walked and talked a bit with her.

my father has been in and out of the hospital. it has been hard.

my cell phone got all sweaty.

i texted my dinosaur friend just to have contact. and basically limped the last two miles.

on my walk home i stopped and got chocolate muscle milk [lactose free]. that stuff is the best after long runs.

i stretched. rested. walked Bear Dog. and hoped i would still be able to walk on Sunday.

and. i could. in fact. i could've run.

orthotics are good.

hi.

i'm a runner right now. i think about poetry. i even want to write it. i'm not so interested in talking about it here right now.

how was yr summer?

2009-06-03T21:49:00.002-04:00

you know what it is about writing that i'm finding so difficult is i have to leave the moment i'm in

to write

unless i'm writing what i want to be writing

but then there's communicating

and, really

i give up on that

happy if it actually transpires -- don't expect it anymore

thing is -- some would call this unhappiness

which is not truth

then

do i have to actually make communication a part of my teaching // learning practice?

no.

2009-06-03T09:49:00.002-04:00

1drop Listen to the pronunciation of 1drop
Pronunciation:
\ˈdräp\
Function:
noun
Usage:
often attributive
Etymology:
Middle English, from Old English dropa; akin to Old High German tropfo drop
Date:
before 12th century

1 a (1): the quantity of fluid that falls in one spherical mass (2)plural : a dose of medicine measured by drops b: a minute quantity or degree of something nonmaterial or intangible c: a small quantity of drink d: the smallest practical unit of liquid measure2: something that resembles a liquid drop: as a: a pendent ornament attached to a piece of jewelry ; also : an earring with such a pendant b: a small globular cookie or candy 3 [2drop] a: the act or an instance of dropping : fall b: a decline in quantity or quality c: a descent by parachute ; also : the people or equipment dropped by parachute d: a place or central depository to which something (as mail, money, or stolen property) is brought for distribution or transmission ; also : the act of depositing something at such a place 4 a: the distance from a higher to a lower level or through which something drops b: a decrease in electric potential5: a slot into which something is to be dropped6 [2drop] : something that drops, hangs, or falls: as a: a movable plate that covers the keyhole of a lock b: an unframed piece of cloth stage scenery ; also : drop curtain c: a hinged platform on a gallows d: a fallen fruit 7: the advantage of having an opponent covered with a firearm ; broadly : advantage, superiority —usually used in the phrase get the drop on8: a move back from the line of scrimmage (as in preparation for making a forward pass [a quick drop]
— at the drop of a hat
: as soon as the slightest provocation is given : immediately
— drop in the bucket
: a part so small as to be negligible

2009-05-26T15:14:00.001-04:00

hey!

it's my birthday!

:)

i'm training for a marathon. reading about string theory. reading marathoning for mortals, too.

not writing.

just reading. sleeping. running. cycling. and lots of things like watching hockey, doing push-ups, sit-ups, squats...

you know.

not really what you need to be told... right?

back to my life!

2009-05-21T11:33:00.000-04:00

new broadside!

2009-05-05T18:59:00.002-04:00

providence was most excellent.

seeing the kates [colby! schapira!] and meeting the Waldrops was really the coolest ever...

i've been recovering since i got home... watching a lot of hockey... hanging out with my doggies... and watching tornado warnings pop up on the television screen so much that i'm almost not scared of them anymore. almost.

i'm going to take a break from blogging for a little while.

need to sleep and get back into training... writing... and seeing my Durham friends!

PROVIDENCE, RI this weekend!

2009-04-28T14:39:00.001-04:00

here's the announcement from Kate Schapira!

so looking forward to some Kate time! [Schapira AND Colby!!!!]

Dear listeners,

Kathryn (Kate) Pringle

and

Dianne Timblin

Saturday, May 2nd, at 6 pm
at Ada Books (717 Westminster St., Providence)

About them:

kathryn l. pringle is a graduate of the MFA program at San Francisco State University. Her first book, RIGHT NEW BIOLOGY, is just out from Factory School/Heretical Text Series. She is the author of The Stills (Duration Press) and Temper & Felicity are Lovers (TAXT). Her poems can be read in The Denver Quarterly, Fence, 14 hills, 580 Split, and Sidebrow, among others. She is an editor at the literary magazine minor/american, and the co-founder of the minor american reading series in Durham, N.C., now funded by Duke University.

Dianne Timblin lives in Durham, North Carolina. Her work has appeared or is forthcoming in Phoebe, Rivendell, minor/american, Foursquare, Fanzine and other journals.

They will either cure or exacerbate your spring fever. Whichever you like! Please come!

Your organizer,

Kate Schapira

back into the swing.

2009-04-26T17:41:00.002-04:00

biked 25.6 miles today. 93 degrees. burned roughly 1500 calories. consumed... much less than that, so far, but, i feel fine.

lotsa water.

it has been poetry weekend in Durham.

friday night : rachel blau duplessis read [super cool reading, just her, about an hour from drafts... very fine... very fun... very smart]

saturday night: tanya olson and fred moten read in the minor american series [o, such genius!]

and today, which i had to skip because i thought i could a} work after riding 25.6 miles in 93 degrees and b} i could not work and had to sleep through the readings of both Buck Downs and Bryan Koen.

sadly. for me.

i love the heat.

i love to be home.

i love to be away, too.

what else...

poetry.

and mass.

and force.

and lotsa writing, actually.

but, the novel to waste [basket] [okay, not really, but, serious-pause buttoned due to emotional heartbreaks involved-- it takes a lot out of me... writing this novel. sometimes it just has to go away.]

poetry is happening, though.

always.

2009-04-20T18:30:00.000-04:00

[ps... i love traveling everywhere giving readings. i love it. i just need the months of june and july off. i'm POOR!]

2009-04-20T18:21:00.002-04:00

wow!

new york was great fun and i'm sure i'll tell you about it later, but...

check out my friend and co-anchor for neo-benshi, brian howe, on ABC!

now accepting proposals! NEO-BENSHI comes to the Triangle!

2009-04-16T19:56:00.000-04:00

we’re bringing it to the Triangle….

announcing a new series in Durham :

Neo-Benshi Night

Hosted & Curated by kathryn l. pringle & Brian Howe

Place: Pinhook

dear friends,

brian and I are now accepting proposals for 7-15 minute [no more than 15 minutes!] neo-benshi performances. for those of you unfamiliar with neo-benshi, here is the wikipedia entry:

Neo-Benshi is the practice of producing live alternate voice-overs for movies.

The art form’s acknowledged starting point is in Korea, Japan, Taiwan and other East Asian nations during the silent film era. Benshi is a Japanese word referring to the oral "interpreter" who performed a live narrative accompaniment to silent movies, in lieu of showing intertitles with dialogue, etc. In Korean the practice is known as pyônsa. Currently, it is finding a resurgence among experimental poets in the San Francisco Bay area and Los Angeles.

you can find some examples here:

http://benshi.org/

you can be artsy, you can be funny, you can be solo, you can collaborate

but, mostly, we encourage you to TRY!

we are hoping to make this happen at least 4 times a year, maybe more, maybe less, depending on participation and interest. please forward far and wide!

we will select 4-6 [depending on time constraints] per night.

there’s a lot on the web when you google Neo-Benshi…. make it yr own!

we are slated to perform June 10th at the Pinhook!

please submit yr proposals by April 30th, 2009 to kathrynlpringle@gmail.com ANDbrian.g.howe@gmail.com

proposals need not be super elaborate at this point! we just want to know about yr idea and how you expect it to unfold!

i'm in NY until Monday, so, if we don't get back to yr questions right away, have no fear, we will!

thanks and see you soon!

kate & brian

2009-04-16T19:54:00.000-04:00

okay NY... i'll be seeing you tomorrow night. and then... i'm going to oyster bay... and then i'm running in central park... so there you at peoples!

NY this FRIDAY! the Poetry Project

2009-04-14T12:54:00.001-04:00

A Night with Heretical Texts Vol. 4
April 17, 2009
9:30 pm
Friday

Heretical Texts is an ongoing Factory School book series published in volumes of five books each. The series aims to test old assumptions about the political efficacies of poetic texts while utilizing the series structure as a framework for documentation and investigation. Since 2005, Factory School has published twenty titles under the Heretical Texts series banner, with future volumes appearing in 2010 and beyond. Volume 4 includes books by Jules Boykoff, Brett Evans, Erica Kaufman, kathryn l. pringle and Frank Sherlock. Please join us for an evening of readings and festivities celebrating Heretical Texts Vol. 4. Participants include Erica Kaufman, kathryn l. pringle, Frank Sherlock and Bill Marsh. Erica Kaufman is the author of Censory Impulse (Factory School 2009) and co-curates Belladonna*. kathryn l. pringle is the author of Right New Biology and lives in Durham, NC. Bill Marsh has co-directed Factory School since its founding in 2000. He is the author of Plagiarism (SUNY Press) and, with Steve Carll, Tao Drops, I Change (Subpress). He lives in Queens, NY. Frank Sherlock is the author of Over Here (Factory School 2009) and the co-author of Ready-To-Eat Individual (Lavender Ink 2008) with Brett Evans. A collaboration with CAConrad entitled The City Real & Imagined: Philadelphia Poems is forthcoming from Factory School later this year.

2009-04-14T05:48:00.002-04:00

the instance is fixed.

sounds like cheating. being cheated.

despite being human... i'm incredibly happy.

2009-04-13T18:02:00.002-04:00

i know yr all waiting for updates and i have to say, i had an amazing time in Oklahoma... and Arkansas... but, i'm tired... and needing to be quiet.

so, i'll tell you this...

Tulsa is rad... Fayetteville is, too...

and me...

i am peaceful for the first time in a while.

[and off to NY friday!]

2009-04-06T08:04:00.001-04:00

AUDIO of RIGHT NEW BIOLOGY and many other folks i love...

Link to ALL

or

just ME

i curse a lot...

i think i do read it better now... i dunno... it is strange to hear myself. i felt a little rushed.

you tell me.

2009-04-05T21:26:00.002-04:00

hey there peoples!

i have been trying to get my training back in line since injury//discovery of my birth defective metatarsal misalignment... i had molds of my feet made and ordered my orthotics... so... that will take until mid-May to come back to me.

in the meantime i'm running no more than 4 miles, biking a lot... and weightlifting, stretching....

i have a terrible knot in my shoulder//neck.

i leave for Tulsa Tuesday.

i'm excited to meet the fine folks of Tulsa & Fayetteville. Oklahoma & Arkansas.

and i get home a week from today... and leave again the following Friday for NY.

then i'm actually home the next weekend... and the next weekend, off to Providence. Rhode Island.

the rest of May i'm all over North Carolina. all over.

i'm tired now.

i think i'm going to drink some beer and watch baseball//NCAAW basketball until i fall asleep.

2009-04-02T09:28:00.002-04:00

i keep thinking about this recycling of time.

and my reading in Tulsa... which... i would hate to do this to my audience, however many people... but, Grant gives you a full hour when you go to Tulsa...

i have a FULL hour...

this is tricky.

reading all of RIGHT NEW BIOLOGY, for me... reading as in speaking it... takes roughly 40 minutes.

i will not do that.

but, i may speak a little about my SCI-PO leanings....

for example, my current investigation into sound & mass and echo & time...

my desire for sound to have mass... i don't NEED that to be TRUE... i just need it to be considered...

and really...

sound hits us

it is a FORCE [thanks Chris, for the correct word... he's so good at FACTS!]

where we are in relation to time, to that recycling of time, i think impacts our psyches in such tremendous ways...

i write about this

and medication

a lot

o, i'll explain in poetry. it works better that way.

speaking of work....

2009-04-02T09:18:00.002-04:00

so much of reality--perhaps all--depends upon where you are... place.

this is a very simple thing, that i've subscribed to, but never fully understood.

it is more than situational.

time never began.

there is no beginning.

is just is.

2009-04-02T00:34:00.000-04:00

up late reading about Gott's time-loop universe theory.

i mean, of course, right?

how can one sleep when one is reading such a thing as this?

2009-03-31T20:49:00.002-04:00

i heard the first cicadas tonight. and quickly ordered my skin so soft expedition super duper ultimate mosquito & tick repellent spray.

i love north carolina. i hate the HUGE ASS BUGS.

if those weren't cicadas... then the house across the street has a live wire.

2009-03-31T19:08:00.001-04:00

Sound mass

From Wikipedia, the free encyclopedia

In contrast to more traditional musical textures, sound mass composition "minimizes the importance of individual pitches in preference for texture, timbre, and dynamics as primary shapers of gesture and impact." Developed from the modernist tone clusters and spread to orchestral writing by the late 1950s and 1960s, sound-mass "obscures the boundary between sound and noise." (Edwards 2001, p.326-327)
Techniques which may create or be used with sound mass include extended techniques such as muted brass or strings, flutter tonguing, wide vibrato, extreme ranges, and glissandos. Composers and works include Barbara Kolb, Pauline Oliveros' Sound Patterns for chorus (1961), Norma Beecroft's From Dreams of Brass for chorus (1963–1964), and Nancy Van de Vate. Beecroft "blurs individual pitches in favor of a collective timbre through the use of vocal and instrumental clusters, choral speech, narrator, and a wash of sounds from an electronic tape." (ibid)
An earlier example is the third movement of Ruth Crawford Seeger's String Quartet 1931 (Nonesuch H-71280) while more recently Phill Niblock's multiple drone based music serves as an example. The use of "chords approaching timbres" begins with Debussy and Edgard Varèse often carefully scored individual instrumental parts so that they would fuse into one ensemble timbre or sound mass (Erickson 1975, p.18 and 21).
Other examples include European "textural" compositions of the sixties such as Krzysztof Penderecki's Threnody to the Victims of Hiroshima (1959) and György Ligeti's works featuring micropolyphony in works like Atmosphères (1961) and his Requiem (1963-65). Also mentionable are Iannis Xenakis' orchestral works such as Metastasis or Pithoprakta. Other works include composers such as Witold Lutosławski, Karel Husa, Kazimierz Serocki, Tadeusz Baird, Henryk Górecki, Martin Bresnick, Steven Stucky. Sound mass techniques also appear in the music of George Crumb. ([1])
[edit]Sources

2009-03-31T19:01:00.001-04:00

damn it.

chris is tearing my theory apart again.

2009-03-31T18:59:00.001-04:00

i'm very excited because i was right. i'm right.

SOUND does have mass.

see... the equal sign does not only mean it moves across... it means it IS.

E=mc2

Energy = mass * celerity^2

energy is a different sort of mass.

sound is energy.

sound is diffuse mass.

AHA!

that's right.

so there.

2009-03-31T13:42:00.002-04:00

TIRED OF BEING LAST ON THE SMOKY, NOISY FREIGHT TRAIN, KATY CABOOSE WISHES FOR SOME WAY TO ESCAPE FROM THE ENDLESS TRACK.

2009-03-30T13:27:00.001-04:00

RIGHT NEW BIOLOGY on AMAZON

2009-03-23T20:24:00.003-04:00

i have a bit o' heatstroke.

i really don't like it. it is uncomfortable.

i fell in love with Sofia Gubaidulina's String Quartet 1 today.

i'm trying to find a copy of a book by Fred Lerdahl, but, it isn't at any public library in town. maybe have to beg my Duke friends to check it out for me.

but, really. i don't feel good. too much running. too much cycling. too much sun yesterday.

2009-03-23T17:42:00.001-04:00

"I feel the heat of rebellion rising in even the slightest souls, and i suspect that even those who have believed in me until now will not want to accept the necessity of this development." Schoenberg re: the Second Quartet

2009-03-23T13:40:00.000-04:00

2009-03-23T09:34:00.000-04:00

you know

it isn't so strange to think of words as having mass...

"the weight of words"

"weighing my words"

but, sound, too, is different

i'm very close to my latest theory regarding the US and sound and mass and psychotherapy and pathology

very close

writing some

but, mostly... tired

today will be my 6th day of cardio [intense] in a row after three weeks off from injury

2009-03-21T20:56:00.002-04:00

running, cycling, running, cycling, lifting, basketball, volunteering, balloons, nap...

reading

mostly, i'm in training again and looking for the balance between body and brain.

2009-03-18T22:30:00.002-04:00

so, i got to run today. and i read tonight. and i drank some.

but, the coolest part is...

so, if sound actually did have mass...

i know, i know, i know

but, if it DID have mass

think of what you'd build.

what have you built?

with yr sounds?

and pronunciation matters. enunciation, articulation, utterance... it MATTERS

it is matter

what if it had mass?

i wish i had the patience to write science fiction...

2009-03-17T18:17:00.003-04:00

i'm cleared to RUN.

and, my doctor thinks i can still run the race next weekend... so...

training time.

i spent most of the day, at work, but, while working, thinking about mass and celerity.

and, yes, dark city and romanticism.

i'm reading the rest is noise... a great book.

i'm thinking::

sound can break glass.

sound has mass.

i'm a poet, not a scientist.

but, sound must have mass.

yes?

north carolina poetry readings....

2009-03-16T16:26:00.001-04:00

the new Triangulations site gives you the lo-down on where to see poetries

2009-03-16T12:16:00.002-04:00

three lucis in one zine : evie shockley, jon leon, and [yes] me : http://www.lapetitezine.org/

2009-03-15T11:18:00.002-04:00

the reading was so great.

gosh, i mean... just lyrically intense and beautiful and... so... happiness inducing.

we are really lucky to live in this triangle of arts and have people visit us that are so awesome.

laynie is just, so good. she really has an amazing command of vocabulary... and the way she experiences the world, or--- the way the poems she writes experience the world...

what is the word?

so perceptive. so smart. so... word-based... but, sound really...

ah, i mean...

all her senses seem to be attuned to poetry.

and joe, i mean. joe's work is filled with these moments and turns that are so unexpected but comfortable because his reading is so seductive...

and dianne's debut was stellar. especially when she read her longer piece, history of fire. she's such a good reader and her language is so compelling -- part modern story-teller, part parable...

and then on the page... all... removals//erasures// turns

happy happy happy days

now, poetry at home & Duke basketball!

TOMORROW AT 8pm --e-mail for location!

2009-03-13T07:50:00.003-04:00

hosted by kathryn l. pringle & Chris Vitiello guest hosts while Maggie is on tour!

MINOR AMERICAN presents.....

Laynie Browne is the author of seven collections of poetry and one novel. Her most recent publications include The Scented Fox, (Wave Books 2007), Daily Sonnets (Counterpath Books, 2007) and Drawing of a Swan Before Memory, (University of Georgia Press, 2005). Of Daily Sonnets Ron Silliman writes: “It’s a stunner and a delight. A pure dose of heady oxygen” and “. . . an icon for the generation of poets who are about to show up.” Heir eighth collection, Roseate, Points of Gold, is forthcoming from Dusie Books in 2009. Her honors include: winner of the National Poetry Series, of the Contemporary Poetry Series, two Gertrude Stein Awards for Innovative American Poetry, and a recent Pushcart Nomination. Her work has been anthologized recently in Not For Mothers Only (Fence Books), Wreckage of Reason, An anthology of Contemporary Xxperimental Prose by Women Writers, (Spuytenduyvil), and in The Reality Street Book of Sonnets (Reality Street Edititions, U.K.). With others she helped to co-curate various reading series including the Ear Inn reading series in New York, the Subtext Series in Seattle, and now as part of the POG reading series Tucson Arizona. She has taught creative writing at The University of Washington, Bothell, at Mills College in Oakland and at the Poetry Center at the University of Arizona, where she is currently developing a new a poetry-in-the-schools program for K-5 schools.

Joseph Donahue's most recent publication is Terra Lucida, from Talisman House.
Previous books include Incidental Eclipse, World Well Broken, and Before
Creation. He lives in Durham, North Carolina.

Dianne Timblin was once a secret Cub Scout. She has also fallen into an orchestra pit, landing on the oboist just before the close of the first act of The Pirates of Penzance. She has captured a snake in her house, has been dumped on her birthday, and has enjoyed a long addiction to the misuse of sticky notes. She agrees with Mina Loy that one's whole life is one's poem. She rather enjoys the third person except when watching sports interviews. She went to poetry college at George Mason University and her poems have appeared in or are forthcoming from Phoebe, So to Speak, Rivendell,minor/american, Foursquare, Fanzine, and others.
--

and rain, all weekend...

2009-03-11T20:19:00.001-04:00

2009-03-11T17:18:00.002-04:00

aha

the podiatrist said

i'm not injured... REALLY... i'm sore.

my left foot has misaligned metatarsals.... from BIRTH.

i have a birth defect.

just have to get a special insert and i'll be back to running...

and, hopefully, this solves all the injury crap [which is always in my left leg....]

hmn...

i'm reading Kate Schapira, Kaia Sand and Hopkins tonight

writing the novel
and the poetry ms

and drinking coffee

i got a beat up faded glider for my small front porch...

so comfortable [it was free on freecycle!]

and i can read outside with bear on the porch and jack in my lap.

good, southern, times!

2009-03-09T18:58:00.002-04:00

ps--

i'm not a bird. not large. not small. not a bird at all.

2009-03-09T18:49:00.002-04:00

i have been in perpetual prosody for two weeks.

i am writing two books and reading 5 books.

i woke up thinking about echolocation and psychotherapy. how some of us need to sound off in order to place ourSELVES.

i also had a dream that i was a bird. a very large bird with the power to heal others by absorbing their diseases.

2009-03-08T21:30:00.001-04:00

so, i totally missed the whole spring ahead. don't have clocks in my house. just my cell and some watches i wear for running, or work... so... when Bear Dog woke me up this morning and it was 7:30, my first thought was, "he let me sleep in an hour." and my next thought was, "huh, it is dark for 7:30..."

and then went all day, not realizing i lost an hour.

until i put my watch on to go to see the show and i was like, "huh... my watch says 5. huh."

Tanya had to explain.

i thought we sprung ahead tonight after midnight.

o well. guess i can't complain.
and,

this is ridiculous:

2009-03-08T15:30:00.002-04:00

i have free tickets for tonight's performance of Jesus Christ Superstar w/ Ted Neely.

and you know what?

I'M DAMN HAPPY ABOUT THAT.

i love the movie.

my foot is killing me.

i'm reading Hopkins, the Poems of [all of them] and many other things...

sleeping a lot, too.

by Gerard Manley Hopkins [as a part of learning of echoes]

2009-03-07T18:15:00.000-05:00

THE LEADEN ECHO

How to kéep—is there ány any, is there none such, nowhere known some, bow or brooch or braid or brace, láce, latch or catch or key to keep
Back beauty, keep it, beauty, beauty, beauty, ... from vanishing away?
Ó is there no frowning of these wrinkles, rankéd wrinkles deep,
Dówn? no waving off of these most mournful messengers, still messengers, sad and stealing messengers of grey?
No there ’s none, there ’s none, O no there ’s none,
Nor can you long be, what you now are, called fair,
Do what you may do, what, do what you may,
And wisdom is early to despair:
Be beginning; since, no, nothing can be done
To keep at bay
Age and age’s evils, hoar hair,
Ruck and wrinkle, drooping, dying, death’s worst, winding sheets, tombs and worms and tumbling to decay;
So be beginning, be beginning to despair.
O there ’s none; no no no there ’s none:
Be beginning to despair, to despair,
Despair, despair, despair, despair.

THE GOLDEN ECHO

Spare!
There ís one, yes I have one (Hush there!);
Only not within seeing of the sun,
Not within the singeing of the strong sun,
Tall sun’s tingeing, or treacherous the tainting of the earth’s air,
Somewhere elsewhere there is ah well where! one,
Oné. Yes I can tell such a key, I do know such a place,
Where whatever’s prized and passes of us, everything that ’s fresh and fast flying of us, seems to us sweet of us and swiftly away with, done away with, undone,
Undone, done with, soon done with, and yet dearly and dangerously sweet
Of us, the wimpled-water-dimpled, not-by-morning-matchèd face,
The flower of beauty, fleece of beauty, too too apt to, ah! to fleet,
Never fleets móre, fastened with the tenderest truth
To its own best being and its loveliness of youth: it is an everlastingness of, O it is an all youth!
Come then, your ways and airs and looks, locks, maiden gear, gallantry and gaiety and grace,
Winning ways, airs innocent, maiden manners, sweet looks, loose locks, long locks, lovelocks, gaygear, going gallant, girlgrace—
Resign them, sign them, seal them, send them, motion them with breath,
And with sighs soaring, soaring síghs deliver
Them; beauty-in-the-ghost, deliver it, early now, long before death
Give beauty back, beauty, beauty, beauty, back to God, beauty’s self and beauty’s giver.
See; not a hair is, not an eyelash, not the least lash lost; every hair
Is, hair of the head, numbered.
Nay, what we had lighthanded left in surly the mere mould
Will have waked and have waxed and have walked with the wind what while we slept,
This side, that side hurling a heavyheaded hundredfold
What while we, while we slumbered.
O then, weary then why should we tread? O why are we so haggard at the heart, so care-coiled, care-killed, so fagged, so fashed, so cogged, so cumbered,
When the thing we freely fórfeit is kept with fonder a care,
Fonder a care kept than we could have kept it, kept
Far with fonder a care (and we, we should have lost it) finer, fonder
A care kept.—Where kept? Do but tell us where kept, where.—
Yonder.—What high as that! We follow, now we follow.—
Yonder, yes yonder, yonder,
Yonder.

2009-03-07T09:12:00.001-05:00

"Poetry is in fact speech only employed to carry the inscape of speech for the inscape's sake--and therefore the inscape must be dwelt on."

Gerard Manley Hopkins