Today I found out that the Poetry Foundation’s Harriet blog highlighted my conversation with Ed Steck, author of The Garden.

Today I found out that the Poetry Foundation’s Harriet blog highlighted my conversation with Ed Steck, author of The Garden.

actionbookspress:

Dan Hoy writes, "A couple of Aprils ago I felt like making a version of 2001: A Space Odyssey with an alternate soundtrack just to draw out different tones and see what happens (Giorgio Moroder did this with Metropolis in 1984). Kubrick uses a lot of silence and non-diegetic music to achieve various gradients of tonal irreducibility, so really all you have to do is pick something that lines up with its visual beats and lay it down. Since we’re using my music library here the result is unavoidably 80s-tinged pop opera.
The highlight is probably the 16-minute sequence toward the end where Dave has his pivotal encounter with the black monolith, catalyzing a next-level mode of existence and featuring an uninterrupted medley of The Knife, Air Supply & Duran Duran (See ‘Conjunction’ embed below), though my favorite arrangements are the live Orbital track with its audience cheering on cue as our willfully dull heroes approach the Moon in full hubris (‘Arrival’), and the broken pieces of Heart and Alphaville that soundtrack a panicked Frank as he spirals into the infinite abyss of outer space after his umbilical is severed by HAL (‘Void’).
What really comes out when watching the full movie like this is how Kubrick intentionally divests the dialogic narrative of all emotional content (excepting HAL’s demise at the end, which is both ironically and genuinely heartbreaking) so he can introduce it instead non-diegetically and full volume, pumped in from the cavernous vacuum of outer space. It’s as if the lives we live are dimensionally reduced exercises in “being human beings”, while our cathartic interiorities are wired in remotely, via the endless darkness that surrounds this planet, and to which we all return upon death.”[Click] to continue

actionbookspress:

Dan Hoy writes, "A couple of Aprils ago I felt like making a version of 2001: A Space Odyssey with an alternate soundtrack just to draw out different tones and see what happens (Giorgio Moroder did this with Metropolis in 1984). Kubrick uses a lot of silence and non-diegetic music to achieve various gradients of tonal irreducibility, so really all you have to do is pick something that lines up with its visual beats and lay it down. Since we’re using my music library here the result is unavoidably 80s-tinged pop opera.

The highlight is probably the 16-minute sequence toward the end where Dave has his pivotal encounter with the black monolith, catalyzing a next-level mode of existence and featuring an uninterrupted medley of The Knife, Air Supply & Duran Duran (See ‘Conjunction’ embed below), though my favorite arrangements are the live Orbital track with its audience cheering on cue as our willfully dull heroes approach the Moon in full hubris (‘Arrival’), and the broken pieces of Heart and Alphaville that soundtrack a panicked Frank as he spirals into the infinite abyss of outer space after his umbilical is severed by HAL (‘Void’).

What really comes out when watching the full movie like this is how Kubrick intentionally divests the dialogic narrative of all emotional content (excepting HAL’s demise at the end, which is both ironically and genuinely heartbreaking) so he can introduce it instead non-diegetically and full volume, pumped in from the cavernous vacuum of outer space. It’s as if the lives we live are dimensionally reduced exercises in “being human beings”, while our cathartic interiorities are wired in remotely, via the endless darkness that surrounds this planet, and to which we all return upon death.”

[Click] to continue

Shameless dirtbag, Rauan Klassnik, had the nerve to ask me why people should read Deluge this September. And then he did what he always does. Posted it on HTMLGIANT…

Shameless dirtbag, Rauan Klassnik, had the nerve to ask me why people should read Deluge this September. And then he did what he always does. Posted it on HTMLGIANT

(Source: kdo)

seapunk’d and stark raving mad

seapunk’d and stark raving mad

radioactivemoat:

*CONTRIBUTORS TO DELUGE NO. 3 HAVE OFFICIALLY BEEN ANNOUNCED*


Dear Tumblr followers, like many of you, I recently read Gavin McInnes’s repulsive Thought Catalog article titled, “Transphobia Is Perfectly Natural” and, upon my own request, I am now officially a Thought Catalog residue. I am a “Page not found" and I do not want to be. My name has been removed from all of my previous Thought Catalog articles. I do not want my name attached to an organization that would publish what was obviously pure hate speech. I considered the ways it could be justified and I came up with 0. I’m just done with that place.
 http://thoughtcatalog.com/paul-cunningham/

Dear Tumblr followers, like many of you, I recently read Gavin McInnes’s repulsive Thought Catalog article titled, “Transphobia Is Perfectly Natural” and, upon my own request, I am now officially a Thought Catalog residue. I am a “Page not found" and I do not want to be. My name has been removed from all of my previous Thought Catalog articles. I do not want my name attached to an organization that would publish what was obviously pure hate speech. I considered the ways it could be justified and I came up with 0. I’m just done with that place.

http://thoughtcatalog.com/paul-cunningham/

radioactivemoat:

Stonepoems by Carrie Lorig & Sara Woods

NOW AVAILABLE FROM SOLAR LUXURIANCE

SL026, edition of 50 + 10
32 pages, 8.5” x 5.5”
$10.00 + s/h



Carrie Lorig is the author of the chapbook NODS. (Magic Helicopter Press) and several collaborative chapbooks, including Labor Day (Forklift, OH) with Nick Sturm and rootpoems (Radioactive Moat) with Sara Woods. A full length book, The Pulp vs. The Throne (Artifice Books) will be out in 2015.

Sara Woods is a transgender poet, artist & graphic designer living in Portland, OR. She is author of the books Sara or the Existence of Fire (Horse Less Press fall 2014) and Wolf Doctors (Artifice Books spring 2014). Find her online at moonbears.biz.

actionbookspress:

Allie Moreno writes, "Secretly, I want to brush my teeth with sorrowtoothpaste. Doesn’t seem like it’d be overly minty. And if I used mirrorcream, I’d wonder if I’d see myself as others see me."Read her other 24 points about Kim Hyesoon’s book [here]

actionbookspress:

Allie Moreno writes, "Secretly, I want to brush my teeth with sorrowtoothpaste. Doesn’t seem like it’d be overly minty. And if I used mirrorcream, I’d wonder if I’d see myself as others see me."

Read her other 24 points about Kim Hyesoon’s book [here]

I had an incredible conversation with Ed Steck about The Garden: Synthetic Environment for Analysis and Simulation (Ugly Duckling Presse, 2013), a suffocating book of holograms, hauntings, and tunnels of code.
PC: “Exploration is a language of progression.” I open this book. I start at the beginning. By page 11, I am referred to the Appendix at the back of the book. I have to read the fine print if I want to advance, right? (Advancement is key, said someone important once and probably on TV.) The beginning of this book—this Garden—seems to also be the end. At this point I feel like I’m following instructions. I feel like a far less subversive reader than when I began (like when I was trying to decipher the censored text). I’m definitely following instructions now. Why? Because I desire something? Why do I want to go exploring? I want to advance because advancement leads to answers, right? Why am I persisting, Ed?
ES: You are persisting because being mechanical is natural. Naturalism is a mechanism. As I mentioned earlier, The Garden, at times, is a translation of perception, and in this instance, it is a translation of form. The Garden, the book, is a map, a directory. I wanted it to be read as a manual. Or, to appear to be able to be read as a manual, rather. And, to advance through a manual, the reader has to follow the rules of the system created by that document. It marches you through the confinement of that reading experience. It’s weird, because I realized that later on in the process of writing it – the inclusion of the appendix was something to contain the narrative of the text, to contain the landscape within it. It’s evil to be lead through your own mind, to have direction decided for you. And, I think this is where desire fits in, to break out of that mode of instruction. 
[Click] to continue reading the interview over at The Fanzine

I had an incredible conversation with Ed Steck about The Garden: Synthetic Environment for Analysis and Simulation (Ugly Duckling Presse, 2013), a suffocating book of holograms, hauntings, and tunnels of code.


PC: “Exploration is a language of progression.” I open this book. I start at the beginning. By page 11, I am referred to the Appendix at the back of the book. I have to read the fine print if I want to advance, right? (Advancement is key, said someone important once and probably on TV.) The beginning of this book—this Garden—seems to also be the end. At this point I feel like I’m following instructions. I feel like a far less subversive reader than when I began (like when I was trying to decipher the censored text). I’m definitely following instructions now. Why? Because I desire something? Why do I want to go exploring? I want to advance because advancement leads to answers, right? Why am I persisting, Ed?


ES: You are persisting because being mechanical is natural. Naturalism is a mechanism. As I mentioned earlier, The Garden, at times, is a translation of perception, and in this instance, it is a translation of form. The Garden, the book, is a map, a directory. I wanted it to be read as a manual. Or, to appear to be able to be read as a manual, rather. And, to advance through a manual, the reader has to follow the rules of the system created by that document. It marches you through the confinement of that reading experience. It’s weird, because I realized that later on in the process of writing it – the inclusion of the appendix was something to contain the narrative of the text, to contain the landscape within it. It’s evil to be lead through your own mind, to have direction decided for you. And, I think this is where desire fits in, to break out of that mode of instruction. 


[Click] to continue reading the interview over at The Fanzine

actionbookspress:

"More than just the same story of the tragic hybrid positioned against a rigid world of binaries, in POP Corpse everyone is a sicko, which makes sickness the norm. In the underwater kingdoms of the sea, all our freaky thoughts find a utopian enclave. We can say whatever we want, whenever we want; the lewd mess in Internet comment streams is brought to the theater; and we’re invited to ‘cannibalize ourselves into art.’ Glenum’s is an appropriative aesthetic actively combating the vintage look, as her work refuses to sanitize history as well as refusing the world of homemade soap. Other practitioners of the abject find themselves at a similar crossroads between nostalgia and a need to violate any dressing-up of that nostalgia.”-from Will Vincent’s “Vile Tide: Abject Art and Lara Glenum’s POP Corpse”

actionbookspress:

"More than just the same story of the tragic hybrid positioned against a rigid world of binaries, in POP Corpse everyone is a sicko, which makes sickness the norm. In the underwater kingdoms of the sea, all our freaky thoughts find a utopian enclave. We can say whatever we want, whenever we want; the lewd mess in Internet comment streams is brought to the theater; and we’re invited to ‘cannibalize ourselves into art.’ Glenum’s is an appropriative aesthetic actively combating the vintage look, as her work refuses to sanitize history as well as refusing the world of homemade soap. Other practitioners of the abject find themselves at a similar crossroads between nostalgia and a need to violate any dressing-up of that nostalgia.”

-from Will Vincent’s “Vile Tide: Abject Art and Lara Glenum’s POP Corpse

radioactivemoat:

"Fingered in the gunshot wound. / Bore me a new one. / I can’t seem to bullet together. / One of those long legged nights, / on a gun, off again. / I get down on my needlings / and pray to god love you." Deluge No. 3 will feature the art and writing of Kim Vodicka!! And what exactly does that mean? It means this magazine cover definitely isn’t what it seems. It means this issue of Deluge might be one of our most NSFW issues ever. It means, as Kim might say, “My apocalypse are sealed.” (At least until September.)

radioactivemoat:

"Fingered in the gunshot wound. / Bore me a new one. / I can’t seem to bullet together. / One of those long legged nights, / on a gun, off again. / I get down on my needlings / and pray to god love you."

Deluge No. 3 will feature the art and writing of Kim Vodicka!! And what exactly does that mean? It means this magazine cover definitely isn’t what it seems. It means this issue of Deluge might be one of our most NSFW issues ever. It means, as Kim might say, “My apocalypse are sealed.” (At least until September.)

radioactivemoat:

Here’s stunner poet Kim Vodicka reading for 100 Thousand Poets for Change in 2011