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Hello everyone.  Finally, itchaway.net is up, as is the new blog.  The site will carry on being developed over the coming month as I finish content.

This blog is now finished.  It will remain here, but from now on, the new blog is at http://blog.itchaway.net (or http://itchaway.net/sections/iablog/ if you prefer).  Please update your bookmarks and your links to the new blog.

Please also remember that this means the feed address has changed. To subscribe to the new blog, click on the big orange feed link in the left-hand side of itchaway.net. Oh, and tell your friends.

J

Book Launch, New work by ME

Friday, 21st November, 2008







Earlier this year, I was invited to take part in a project, responding to the painting / text work of artist Beth Ames Swartz.  This work is itself a response to and incorporation of Du Fu poems (ancient Chinese poetry, see Wikipedia entry here for fast track knowledge) and I wrote two poems in response to her exhibited paintings, two procedural works using fragmentation techniques to harness the already fragmented qualities which are the result of the translation process.

The book launch is tonight.

I have also made an online digital work as part of my contribution.  Dead and in this Painting can be viewed here.

 

See Beth Ames Swartz’s paintings online here.



Firstly, no I do not frequent the Daily Mail website. I found this on Digg, if you must know.

But this is amazing, startling, and wonderful.

On another note, I am working towards a painful migration over to another Wordpress install, to see if it’s even worth attampting.  You may start to see strange things happening to this blog.  It might disappear, then reappear.  It might become nude and then redress itself.  I might have to close it down for a week or two.  Bear with me.

BECAUSE IT’S PUNCHING US IN THE FACE.

CNN reports on the widespread recognition in Europe that Sarah Palin is an abso-fucking-lutely ridiculous, insane choice for Vice-President, particularly when her boss could quite conceivably die in office of old fucking age.

There have been irritatingly repeated references from the Republican campaign about the bias and intervention of the ‘mainstream media’ in this election.  It is clear that by ‘mainstream media’ they simply mean ‘the rest of the world apart from our campaign, base supporters and Fox News’. In a campaign which has steadily become increasingly based on negative character attacks (this on both sides to some extent but much much more so with the Republican ticket), Republican rhetoric has become frighteningly fear-based – can you trust Obama? Who does he hang around with? Have you noticed he’s DIFFERENT? – all without explicitly SAYING what some rally audience members will yell out for them.  Thus, when this is pointed out, it’s immediately dismissed as smear, when in fact it’s their own smearing which has caused the ruckus in the first place. Maddening doublethink is this.

Case in point is a brilliatly explained article regarding the recent nothingnews which is the Acorn registration fraud ’scandal’ – quickly picked up by the McCain campaign in order a) to avoid actually discussing policy, and in particular that troublesome economic situation, and b) to imply (and this is rich, considering the cheating which got the current administration into power in 2000) that the Democratic party has in some way colluded with Acorn to unfairly get votes.  They seem to forget that people have to TURN UP in order to vote.  Mickey Mouse, if he doesn’t exist, will not have his vote counted on election day.  ‘Period.’ As the article above points out, the real fear here is that new and real people are, in fact, signing up to vote.  This is scary news for the McCain ticket indeed.  The matter of a number of registration errors means absolutely nothing to the amount of people who are real and who will be able to vote on the day. This is, indeed, a way of articulating a ridiculous argument to claim fraud and shut down an actually pretty robust system – which IS in fact bipartisan.

Palin has done precisely what the campaign has asked of her: she has rallied against the Democratic ticket by launching smears of doubt, and held together a previously volatile Republican voting base with folksy charm.  But it’s precisely this exploitation on the part of her campaign which is in error. Thinking that they would win over Clinton supporters simply by virtue of tossing out a woman was erroneous at best, but plain stupid considering her political standpoint and the issues for which she stands. Her obvious inexperience negated any viable ammunition her party had to snipe Obama – who, incidentally, has considerably more experience than 3 years in the Senate. So, she’s done her job very well, but the job given to her was a bad one in the first place. She has been shielded from unscripted encounters except for the most friendly of interviews such as the one with Limbaugh, which gives weight to criticisms that she is not capable of forming opinions of her own, or holding it together when challenged – two major requirements of a leader. Her position as a woman has been exploited in all the wrong ways, pre-emptively being used as a defence from fierce attack by her opponents (which didn’t work in the VP debate with Biden). She has, in many respects, been taken advantage of by the campaign in ways which could not have been more cynical nor more of a token gesture. Yes, public, they think you’re stupid.

However, the ‘hockey-mom’ tactic isn’t working, if the polls here are anything to go by. The economic woes of the middle- and working-class are now so acute that people are taking policy much more seriously in informing their choice of vote.  People are angry, and the anti-intellectual stance in which Republicans accuse those of challenging through thinking of being in some way elitist no longer holds sway. Many people don’t seem to want their best buddy being a heartbeat away from the presidency – they want someone who is going to act intelligently on their behalf on issues which they don’t fully understand. It might not by an idyllic world under Obama, but it’s more likely to involve contextual thinking instead of gut reactions and stubborn personal opinions. The Republican base, who oppose accepting responsibility for their actions for fear of having to change those actions (the booing of Republican viewers to Biden’s opinion that global warming is man-made was a clear gagging reflex by those whose Hummers outside were probably ticking over to keep the air-con flowing) were already won, but are now driven on by stupid lipstick statements which might just throw feminism back a couple of decades. Is this how women want to be represented? Is this how a country would like to be represented? Many of the undecideds, I imagine, are now forever lost for those very reasons.

Even the Obama-Biden ticket might not be 100% perfect, but I feel very stongly, by what I have seen over here, that this election more than any for a very long time, is a split decision between a progressive government which will improve international and civil relations, and a reversion, a seriously damaging step back, to an even more acute marriage between church and state, and an administration bordering on nationalism, fear, intollerance and alienation. Guess which is which.

Scarlett Johansson does Tom Waits

Monday, 8th September, 2008

I’m in Arizona, and have just managed to get myself sorted, hence the period of silence from these realms.

Of Itchworthy news is a surprising music gem I just heard whilst catching up with an episode of Late Junction on the iPlayer.1

Scarlett Johansson, THE Scarlett Johansson, has apparently made an album of Tom Waits covers with quite an entourage of musicians.  I’ve not heard any of the rest of the album, but her take on “I Wish I Was In New Orleans” is a surprising success.  Surprising not only because of the usual caution with which musical adventures by actors and actresses should be approached but also because of the fact that, despite being at practically opposite ends of the vocal-range spectrum, this song, works.  An excellent song to be murdered to.

You can check out the archived show on the iPlayer (eek — for one more day only!) here.

EDIT: FYI (and should you wish to skip past the Randy Newman – the song is around the 6:30 mark)

  1. I had bookmarked this episode in particular, having listened to it in bed.  I woke up the following morning with disjointed drawls of the spellbindingly annoying Randy Newman in my head, and had to convince myself that I had in fact heard them in real-life-electro-acoustic-vibrato-ear-drum-electro-brain-interpre-memory rather than having made them up []

[...T]here seems to be a necessary hope that pointing to language itself (particularly the language of war, media, and politics) is a first step toward action and change. But in what ways is that pointing poethical?1

In this essay from Jacket 32 (part of the “Pressure to Experiment” feature from the issue), Osman weighs up differing approaches to realising formally procedurally composed texts, prompting questions of the aesthetic and formal (intrinsic to) social placement of poetic ‘found’ texts.

Cecilia Vicuña’s statement that

The media and the [political, social, and economic] powers have found a way to speak about democracy as if it were a given, something that is already here. That’s a substitution of reality. It represents a desire to see an image instead of what is real.2

is interesting given the differences of approach she has to Alfredo Jaar’s work:

I don’t see the point of utilizing the language of publicity to go against publicity. For me, his visual approach simply gets absorbed by the current system of knowledge. Shiny photos of pain do not question pain.3

I’m not so sure I agree entirely with this statement.  Jaar’s images present stark dichotomies with fairly easy-to-interpret implications as a result.  For want of a better word, there’s no ‘trick’ here, which could use absorption to point towards the substitutions of reality Vicuña has discussed.

Can formal and aesthetic contexts too be treated as ‘found’ material in the same way as textual material?  In addition to stripping context (Goldmsith’s ‘nude media’ approach) or creating overtly opposition formal situations, a tweaked kind of détournement comes to mind as another alternative, in which the passive consumption through the aesthetics of new-media-based texts might actually be advantageous when placed in tension with its content. A method of drawing one into the pointing.  Straightforward reactive statements, decontextualised / recontextualised news bytes are all very good, but how might certain levels of subtlety, inviting a culturally specified form of reading, be more effective precisely through a level of formal and implied textual transparency, a (largely false) return to a tradition, as a site for reinterpreting a text in a digital context where collage-based approaches to reading are common, and where one might point to the transparency from within transparency? I wonder how this might too constitute a poethic approach.

  1. Osman, Jena, “Is Poetry the News?: The Poethics of the Found Text,” paragraph 8, from Jacket, 32 (April 2007). http://jacketmagazine.com/32/p-osman.shtml (accessed 17 July 2008) []
  2. Ibid., paragraph 23 []
  3. Ibid., paragraph 27 []

Download Firefox 3 Today

Tuesday, 17th June, 2008

Help break the record for downloads in 24 hours.

Support open source software which is more secure and robust because several million people share the code instead of hoarding it to develop MS BS dogshit. Enjoy more standards compliant browsing than you’ll ever get with IE, the worst browser in the world imaginable.  It’s incredible that 35% of web users are still on IE6, which is like wearing an eyepatch to play baseball.

Do yourself a favour here.  Boycott the blue E and give web developers and yourselves a break.

Interacting with How2

Monday, 2nd June, 2008

Even in the 3 years I’ve webmastered How2, I’ve noticed more and more in the way of potential for interaction with some of its features. As of the past few issues, this is not solely possible through writing postcards; Jena Osman’s Public Figures work featured in Volume 3, Issue 1 is accepting ongoing submissions of work, four of which are now up and linked from the current issue.

In this issue, a new piece of work in the new media section – GilbertandGrape’s Lone Ranging Romance 2004-2008 –invites readers to embark on an audio-visual interactive hike, before plotting his or her own route for G&G, through a rather nifty Flash-based freehand drawing interface. Draw it, save it, and your route is saved with everyone else’s.

These pieces, as well as the ongoing postcards, are daring ventures. They rely on the participation of the readership to help them succeed in growing and becoming something unpredictable to the author. But they need you in order to achieve this.

Lone Ranging Romance 2004-2008 can be seen here.

Public Figures can be seen here.

View postcards here.

And pass on the word that with a little momentum, How2 can evolve and expand between issues…!

Du Fu Procedural Translation, 1

Sunday, 25th May, 2008

With a small working note:

These poems were written using procedural methods. As part of my research, I have been interested in how the kinetic and generative qualities of certain digital media can be used as both presentational and compositional tools, creating fragments and variations of source materials. For me, Beth Ames Swartz’s use of mixed media in her paintings encourages a mixture of concrete reading and abstract viewing in which the visual qualities of the text (spatial placement and implied movement, opacity, noise) inform how the semantics of those fragments is interpreted within the wider context of the painting as a whole. The physicality of the text produces a synaesthesia and unique multi-directional readings through such attention to text in these works. For my response to Swartz’s work, I wanted to work with these ideas as a basis. I used Flash to break apart and visually reconstruct the language of the translated Du Fu poems found in the 300 Tang Poems anthology. This provided me with fragments of language as a starting point from which I could construct new poems which often distorted yet echoed remnants of the originals. It also allowed me to situate my writing in relation to those ‘problems’ encountered by translators of Chinese poetry, in terms of concision of language but also in terms of the problems of understanding when translating:

[E]ducated Chinese can read these poems fairly readily, but they are often at a loss to explain exactly what they mean. Worse still, Chinese characters link up nicely in compounds that have no literal equivalents in English.1

Rather than viewing this as a problem, placing myself in such a position provided me with a creative starting point through which to write and edit the fragmented work. Choice through chance, happenstance compounds. Writing through the new fragments produced a partly improvised, reactionary compositional method which created frequently unexpected themes, tensions, ambiguities, repetitions and variations. I wanted to maintain the synesthetic approach and sense of multiple readings and perspectives I feel are possible when reading/viewing Swartz’s paintings, and so I produced a digital setting for my work, randomly generative visual texts, as another way of approaching the text in relation to these paintings. As with Swartz’s paintings, each reading sequence is a different, multi-linear experience, with multiple entry points and readings produced through motion and space.

These poems will be published in a book responding to the work of Du Fu and Beth Ames Swartz, in November, published by Arizona State University. I’m working on a couple of online settings for the work, which will follow in a couple of weeks.

Rivers to Colour the Snow

a piece of sky
and the fierceness of angels
the talk of power this word has a new disciple –
lady, waiting for sun
the girth of glimmer
memorial girl, a dignified thunder
come back now because I am snow
charm the cold – dance like
the autumn
lustre to their ten thousand unheards

mountain fruit to restore the flesh
drifting by like Emperors‘ rules
we bury the clouds
the sky had banished
their very valour is in not knowing
drew from
intimate and
wealth and fame
in spite of
changes that have come
yesterday, I found smiles, and lips and offices
the marvel of bad luck
how hard it is to be God!

but now I see the distinction
ladies in the duckweed
and here you are
angels before thunderbolt
the fierceness of waters

  1. TRANSLATING DU FU, textetc.com – http://www.textetc.com/workshop/wt-du-fu-1.html (accessed 12th May 2008). This article contains a helpful overview of translation issues in Chinese poetry. []

All Your Slurp are Belong to Us

Saturday, 10th May, 2008

Fact the shiver sweat slurp.