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Word For / Word  #3

Notes/Bios

 

 


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Michael Basinski is a teacher and curator of special books collection at SUNY-Buffalo in New York. He is the author of many experimental publications, including the visual epic, HEKA, and Poemeserss. He has also done extensive performance work.   >>

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Guy Beining, currently living in Massachusettes, is a well know collageist and artist whose work has appeared in many publications. He was the featured artist in the fall/winter 1999 issue of Black Warrior Review.   >>

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John Crouse's artwork featured in this issue is from Prefaces available from xtantbooks. He also has two books, Headlines and Lapses, available online at OBooks.com.   >>

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Catherine Daly lives in Los Angeles. Her first book, Locket, will be published by Tupelo Press next year; another manuscript is currently a finalist for the National Poetry Series.

NOTES:

"This is the first section of "Dress" -- other parts are in "working notes" condition. The poem has some relationship with "Decoration" at Alterran Poetry Assemblage and also with poems in two parts of a trilogy, HERESY (a finalist in the NPS) and ALL THE ANGELS AND SAINTS. ATA&S fashion designer poems are in TINFISH and THE STYLES. But "Dress" isn't participating in the identity issues in the same way the HERESY and ATA&S poems do -- it is closer to "Decoration" in that way.

My mom had two used clothing stores called Worn Again and my dad had two shoe stores which sold shoes for one price -- $9.99 -- when I was in school (11 years of catholic school uniform-wearing followed by working in very large very formal corporations and poetic having no money or storage space). So, a lifelong aesthetic treasure hunt for items I can't use or keep informs "Dress." I have an exceptionally grasping and yearning relationship to some of the writings I use in the projects I've mentioned."   >>

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Raymond Farr has had or will have work published in future issues of Aught, Shampoo, CanWeHaveOurBallBack?, Poethia, East Village, X-Stream, Paradoxism, Cider Press Review, and Poet Lore. He welcomes comments which would lead to a dialogue about his work and postmodernist poetry in general at the following address: r.farr@worldnet.att.net.    >>

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Luc Fierens published his first poems in 1982, the same year he discovered the MAIL-ARTNetwork. Since 1984 he has been active in Belgian mail-art and visual poetry. He works in various media: collage, visual poetry, Artists' books, rubberstamps, artistamps, and sculpture. He has organized numerous Mail-Art projects, including "Homage to Fluxus," which has been accepted by the Sonia Henie Museum in Hovikodden (Oslo), Norway. He is the editor of POSTFLUXUSBOOKLETS.   >>

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Jeff Harrison's poetry appears in the current issues of Moria and VeRT, and is forthcoming in Poethia, A Chide's Alphabet, M.A.G., Side-Reality, and BlazeVox (e-book). He has an essay forthcoming in How2.    >>

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Tom Hibbard's most recent book of poems is titled Gessom, available from the author. His reviews can currently be seen online at `Jacket' and `Milk' magazines.   >>

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Brenda Iijima's books are EPITOME and Person (a) (Portable Press at Yo-Yo Labs). Recently Pressed Wafer of Boston published IN A GLASS BOX, a chapbook. As well, she is a photographer and painter. She grew up in North Adams, Massachusetts and now lives in Brooklyn, NY.

NOTES:

"These three poems are part of a larger work, AWARE, taken from the Japanese, MONO NO AWARE, or the pathos of fleeting beauty. Here, time is abandoned or displaced for a different metering. Time is disillusioning. The poems' momentum is gained elsewhere and otherwise. Conversion, emphasis and detail make head on collision with essentiality, vastness and symbol. And, borrowing from Mallarme: 'Akin to all of nature and reverting toward the organism which is the depository of life, the Word presents, in its vowels and its diphthongs, a kind of flesh; and in its consonants, a kind of bone structure, the dissection of which is a delicate operation.'"   >>

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Mary Kasimor has been published in X-Cultural Poetics, moria, Nedge, Volt, Prosodia, Lungfull!, Columbia Poetry Review, and xtant2, among others.  >>

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Richard Kostelanetz has published many books of indubitably experimental poetry and prose.  >>

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Jim Leftwich co-edits xtant, and is the author of Doubt (Potes & Poets), Dirt (Luna Bisonte), Virgule (Lingua Blanca) and Staceal 1 (Avantacular). From 1994 to 2000 he published the early mail-art zine Juxta and co-edited and Juxta Electronic. An extensive selection of his work is accessible online in the november issue of Muse Apprentice Guild. His long work, Doubt, is available at avant-garde bookstores. He lives in Charlottesville, VA.  >>

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Camille Martin is a poet and translator who lives in New Orleans. Her collections of poetry include sesame kiosk (Potes & Poets, 2001), rogue embryo (Lavender Ink, 1999), magnus loop (Chax Press, 1999), and Plastic Heaven (Fell Swoop, 1996). She recently completed a new collection,codes of public sleep. Her work has been published in such magazines as Perspektive, Kiosk, Fiddlehead, Cauldron & Net, Unarmed, Moria, Poethia, and VeRT, and in the anthology Another South: Experimental Writing of the South (University of Alabama Press, 2002). She founded and co-curates the Lit City Poetry Reading Series in New Orleans.   >>

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Nick Moudry is currently working on a collaborative book with the poets Eric Baus, Noah Eli Gordon and Travis Nichols. He lives in Northampton, MA and edits baffling combustions>>

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Lanny Quarles hails from the panhandle area of Texas where his heroes became Rimbaud, Jarry and Pecos Bill. His digital collages can currently be viewed on-line at ontologicalmuseum.org.        >>

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Francis Raven works for an environmental justice non-profit in San Francisco. Broken Boulder press just recently published two of his chapbooks called Notestalk and Notationing. Anabasis Press published his novella, Journey Writ Large on a Blue or Lilac Notebook. Warnell.com published his electronic chapbook entitled Do Not Add Up which is located at: http://www.warnell.com/syntac/add.htm. He has been published in The Red Booth Review, Beehive, Gestalten, Untitled, The In Posse Review, Inter/Face, The East Village, Moria Poetry, Oblique, and The New Colonist, among others.

His poem "Icon Reverberation" was written while watching Kenneth Branagh's Hamlet 6 times.  >>

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Chris Sawyer lives in New York City. His recent texts have appeared in Poethia, Moria, Can we have our ball back?, sidereality, and xStream. A chapbook, Mesmeranda (Potes & Poets, 2000), is available from Small Press Distribution.

NOTES:

Recombinant (Gloss)


A nonlinear editing session. Open architecture, compatible hypertext
décolleté/decollage
This whole process of critiquing, re-arranging, streamlining and linking is
deeply informed by quite specific properties of the external media, which
allow the sequence of simple reactions to become organized and grow (viably)
into something like an argument: holographic detournements, reference
parameter settings, unauthoring, re-animation, intertitling and pastiche.
my favorite poets.
I do not read poetry
(diary, pornography) bulk-dyed thermoplastic polymer, ceramic foam, recycled
aluminums
Go to [File], then to [Open], and access the Insertion, direct grafting, or
splicing of a recombinant element (citation of phrase, paragraph, or entire
section), into the template text. Iterated loops
Viral sampling and "giving credit" to the discourse/context zigzags
A-LIFE, automata to make hypotaxis out of
                   parataxis
The alchemical view of matter defines it as having three fundamental
principles, sulphur, mercury and salt. These, when combined in different
proportions, give birth to new bodies.
Elements - The gathering together by various means
Per)mutation - The particular modality of alteration
Arrangement - There is a certain aesthetic quality
A Utility Fog, consists of a swarm of nanobots ("Foglets") that can take the
shape of virtually anything, and change shape on the fly.
A generic term for a composite creature is "chimera."
The use of genetic engineering techniques to transfer synthetic genes to an
organism or to transfer natural genetic material from one species into
another, to create unique living beings:
aiding the distribution of ideas
promote complex refrains
a theory of inclusive disjunctions
restore the dynamic and unstable drift
Molecular tools allow the artist to engineer the plant and animal genome and
create multiple beasts: bird's head with lion's torso and legs, bull's head
on human body,


SEE


TRANSGENIC ART, utopian plagiarism
hermetic arts, Bioinformatics,
Technoshamanism, Precipitate Formation Titrations    
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Ravi Shankar is the founding editor of http://www.drunkenboat.com and is the poet-in-residence at Central Connecticut State University. His work has appeared or is forthcoming in many journals including the Paris Review, Gulf Coast, Poets & Writers, Crowd, The Massachusetts Review and Lit. You can read an interview with him at: http://www.jacket.zip.com.au/jacket16/dev-iv-shank.html.     >>

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Jordan Stempleman a graduate of Columbia College in Chicago where he received the Academy of American Poets Prize for Poetry in 2000. His work has appeared in Bridge Magazine and The Columbia Poetry Review.     >>

NOTES:

Rather than creating a narrative that is succinct in arousing the invisible arm of the author high into the air purely for emotive effect, the language itself is allowed to form hinges that are malleable through subjective imagination. To use the image only if building it without time and place obstructing the passage of multifarious interpretations. The appearance of a word like supermarket, arriving isolated or attached by mentioning the object itself.

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Sara Veglahn is the author of a chapbook, Another Random Heart, forthcoming from Margin to Margin Press (www.litpress.com). Recent work has appeared in or is forthcoming from CanWeHaveOurBallBack?, Castagraf, and 26. She is one of seven editors of the journal baffling combustions.

NOTES:

"These excerpts from a long series, Another Random Heart, began from wanting to utilize several orphaned titles which Iíve kept in a notebook for years. Each of these titles became a sentence in a single poem which itself became the first poem of a longer series. Once the titles became sentences in a single poem, I was able to see how they interacted with each other, providing the inspiration for the subsequent series. I wrote one poem a day, taking each sentence (what had been the titles) out of the original poem and began by first writing from the sentence/title as a jumping-off point, and then through three specific elements: sound, rhythm and gesture. Working in a series was especially appealing because I was attracted to the idea of sustaining these elements for longer than just a few stanzas. Though I wasnít exactly sure where I was going or what the result would be, I was hoping that through writing, the connections would arrive on their own and the series would come to some sort of cohesive whole. As I went along, I realized that despite the widely varied titles, all of the individual sections were beginning to sound like they belonged together; their shared diction and syntax created a shadowy narrative, a vaguely linear construct moving through each section. Once I had completed the 30 poems, I took them out of their chronological arrangement to vary the tone and context and also to enrich what I felt was the just-barely emerging 'story' of the series. It now is one long poem in 25 sections. The titles were either removed or blended into the sections. The original 'title' poem was scrapped and merely served as a way to trampoline the poem up and out."    >>

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Ian Randall Wilson is the managing editor of the poetry journal 88. Recent work has appeared in The Alaska Quarterly Review, Spinning Jenny and Spork. His first fiction collection, Hunger and Other Stories, was published by Hollyridge Press.

NOTES:

"My poetics are those of the bricoleur: I take my material from wherever I find it with no allegiance to one school or one genre. The lyric moment, the surreal image, the postmodern fragment and a line of copy from a magazine ad for refrigerators are all likely to be found in my work."   >>

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