Peace Events presents Taylor Brady and Jennifer Scappettone (Ad)*

Peace Events & The Prosodic Body

present

Taylor Brady & Jennifer Scappettone

Saturday, November 1st 2008 8PM
BYOB & donation: $5

hosted by Thom Donovan & Robert Kocik at:

340 Morgan Avenue ("MEBLE" building)
E. Williamsburg (Graham Ave. L stop), Brooklyn
((PLEASE SEE DIRECTIONS BELOW))

about the readers:

Taylor Brady lives in San Francisco where he is active in the Nonsite Collective (www.nonsitecollective.org). His recent publications include *Yesterday's News*, *Occupational Treatment*, and *Snow Sensitive Skin*, written in collaboration with Rob Halpern.

from Occupational Treatment:

Perhaps I write to you in order to create delicious misunderstandings that will render me edible. I hope to settle your own digestion of my own erring analysis. Many of the campers are clothed in the gnawed remains of just such a meal. At one time they even produced its refreshments, but that was before the brewery started outsourcing beer. In the photos I've enclosed the effect is one of unfortunate fatigue. But you must remember that this nation is so young it has not yet discovered its youth. It only appears wreathed in tatters and strips of the outmoded or attenuated. Passing by way of sartorial falsehood, you must come to imagine the truth of a new collective body still barely veiled within it. Then distance comes and spills into its folds.


Jennifer Scappettone is the author of From Dame Quickly, forthcoming shortly from Litmus Press, and of several chapbooks: Beauty [Is the New Absurdity] (dusi/e kollectiv, 2007, now available at www.dusie.org/BeautyIsTheNewAbsurdiD2.pdf); Err-Residence (Bronze Skull, 2007); and Ode oggettuale, a bilingual "poemetto" translated in conversation with Marco Giovenale (La Camera Verde, Rome, 2008). She guest-edited Aufgabe 7, which features a section devoted to contemporary Italian poetry of research. She is now at work on Exit 43, an archaeology of the landfill and opera of pop-ups, for Atelos, and is also writing a book on the amphibious city. She teaches at the University of Chicago.


EXIT 43

So here we are?

Exitable—architectural—girlish—hackquiescent.

Omoshirosoudeyone?

The chessboard has left and its dada with it.

What’s left is private.

About this—err—residence.

All mirrors noted. All windows. And all-breakable.

One ration under Bigus.

Still full of collector’s pieces.

Glass over glass. Dustiny, jurisdictionless.

Doug & Midge invite you off the page.

Into more issues than tissues.

Into La Salle. Into the Love Canal.

Scabie boomers:

Are you clean inside?

Here in the middle-of-center.

Death begins in the colon. Find out now!

Find 42 million pounds—

Moshi moshi. Supertrunk?

As one sterilizes her fen—

I wrote your copy inside the bubble

Find out why every second American is chronically ill.

& would now like to know what you are.

Two-way voice. In-only voice.

Lire desukeredomo!

Of Hooker Chemicals.

Out-only voice. Miroloyia

Littered with PCs. Rider B

Is Lyre, however, and yet—

Chorus!

Long-winged thrushes, or doves, making their way into

Engineering, termination, client service user training, where applicable,

Master Snare set in a thicket—

The rights and remedies for ST Service Service included in Table B…

So too these women, their heads hanging in a row….

………………………………………………………

They gasped with their feet for a very short while, not for long at all.

No use for civic grief: I Homer have hereby censored this account

& *anyway it was a long time ago.*

__________________________________

Directions to 340 Morgan Ave:
Take L to Graham Ave. Walk 4 blocks north on Metropolitan (past White Castle). Take a left on Morgan. Look out for a yellow awning that reads "MEBLE". You are there! Here is Mapquest, just in case:
http://www.mapquest.com/maps?city=Brooklyn&state=NY&address=340+Morgan+Ave

Peace Events (formerly Peace On A) is an events series devoted to emergent work by writers, artists, performers, activists and scholars. Link Wild Horses of Fire weblog (whof.blogspot.com) for back advertisements, introductions and reading selections.

Peace Events & The Prosodic Body
*photo courtesies Erica Kaufman, Dorothea Lasky, Jennifer Scappettone, and Stacy Szymaszek.

Crayon On Beauty Release Event (Ad)

New York University’s McGhee Division
Inside/Outside Series Celebrates

Crayon On Beauty

Edited by Andrew Levy and Roberto Harrison

WHEN Wednesday, October 29th, 6:30 – 9:00pm
WHERE The Torch Club @ New York University, 18 Waverly Place, New York, NY

Entertainment begins at 7:00pm (Open bar at 6:30; Food to follow the panel and performances)

Julie Patton in Performance
“part, smart, kkk-Palin mart, grow another heart...”

How do we live now? – Beauty, ethics, and the political body
An open Q&A panel with Chris Alexander, Thom Donovan, Kristen Gallagher, Brenda Iijima, Andrew Klobucar, Robert Kocik, Julie Patton, Tim Peterson, and Eleni Stecopoulos — Moderated by Andrew Levy & Ruth Danon

Prosodic Body/Phoneme Choir presentation
by Daria Faïn and Robert Kocik with Valarie Samulski, Charlotte Gibbons and Jonathan Bastiani

Crayon 5 – On beauty – 26 essays on beauty, eleven new works of poetry, and 17 book
reviews (448 pages) – available for sale at the Torch Club (& spdbooks.org)

Contributors: Beverly Dahlen, Kristen Gallagher, Joe Amato, Chris Daniels, Cecilia Vicuña, Nicole Brossard, Rob Halpern, Julie Patton, Robert Kocik, Carolee Schneemann, Sawako Nakayasu, Kristin Prevallet, Brenda Iijima, Steve Benson, Laynie Browne, Diane Ward, Thom Donovan, Alan Davies, Lisa Robertson, Michal Lando, Peter O’Leary, P. Inman, Jonathan Skinner, Andrew Klobucar, Alan Prohm, Linh Dinh, Belle Gironda, Roberto Harrison, Andrew Levy, Corey Mead, Ruth Danon, David Pavelich, John Shoptaw, Laura Sims, Sally Van Doren, Dan Machlin, Robin Tremblay-McGaw, Tom Hibbard, Stephen Vincent, Martine Bellen, Kass Fleisher, Chris Alexander, Matthias Regan, Pete Smith, Pat Reed, Judith Goldman

Sponsored by the Liberal Arts Program, McGhee Division, SCPS, NYU and the Office of the Dean, SCPS, New York University

For further information please contact Andrew Levy @ Andrewlev@msn.com | graphic design: allan@allanmargulies.com

Overhearing Altman (Deadpan)

The status of the voice in Robert Altman's 70s films (*Nashville* and *3 Women* in particular) frames us in a shower stall with a tiny ceiling like in the film *Being John Malkovich*. Our voices, doing the voices, overburden this frame, with stupid presence not refusing to be anything, to hear anything in a tone or a forward looking gesture of the hand. So spectacle whispers in our ears, convinces us we are everything. The status of the voice is a present that is everywhere, whose origin is nowhere--not even in Emerson or Jonathan Edwards or Anne Hutchinson for that matter. The body becomes a boom mic, an earpiece, a gun (always a gun). The body becomes this voice that is present everywhere in being nothing--Stevens' "sleeveless" fluttering, his "backward motions" of any actor's hands; Creeley's "The plan is the body. The plan is the body. The plan is the body..." like the mind talking to itself through the dark feedback loops of its interiority. I never really liked Robert Altman's films until recently with all their obvious ironies and satire and manufactured candidness (his signature tracking shot both surveillant and intimate), but out of all American filmmakers from the 70s he most anticipates Reagan as a problem of the mediated, imagized body. The body that is nothing but expression, the voice that is only voice--whether 'valley pop' or 'folksy'. The body that is only body--"wholly body" (again, Stevens)--only an image of the body. A body always anticipating being an image. That is American. Robert Altman, I don't want to be a body if the body has to first be an image of itself, rather than itself. I don't want to be contentless--discontented, literally. This year, this month, October 2008 before a presidential election, there is nothing but the image of the body and the voice under total scrutiny not for what it says but for how it says it. The only *sensible* rhetorical strategy (as Patrick Durgin commented last night) is an end game "ascesis" of word and gesture, expression versus what is said. These overheard performances of us.

Bardo

--for Robert

All these tears we wept
for real estate fakes
out the real we keep

our eyes on the inside
our upheavals to our
selves that's all

community was some
thing to do with a pile
of bricks and the shaping

of space something
like a marriage goes on
without members to

tell us we are all one
thank God there is
a park today with folk

in it picnicking and
playing basketball
thank goodness for

gratitude sometimes
a wall is only a wall
sometimes these doors

swing open more than
one way all we wanted
was to be inside that

building without being
inside it sometimes
we wanted to use it

without using it to
come back from the
dead without returning

buildings sometimes
move too fast for
our bodies to realize

this is all a preparation
for death so any one
will live dying into

a new purpose for
purpose or meaning
the way you interrupt

me with your body
challenges what I think
a body should do

so we are a discourse
about use didn't even
think a body could

be fucked *there* or
do *that* that is what
he means when

Nietzsche says
the strong must
be protected from

the weak each
body is a central fact
tracing the shape

of the law learning
to crawl since malice
must be demonstrated.

For AR, Again

Sound heard plainly in speech
And worlds created by sound

All the steps we take within them
Until they or we stop thinking

This is all you meant by here
Always making another version

Of our words since they are
Happenings across anyone's

Strings the way an ocean throws
The voice hears intervals in us

As though the first time thrown
Back to where we began

In prairies, husks, echos
Free because we are composed

In prairies, husks, echos
Discontinued continuously.