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a duration of sound poetry & similaria
edited, reärranged & constraducted by jwcurry
& realized through the combined auditoria of
jwcurry Alastair Larwill Georgia Mathewson Brian Pirie
7 PM 21 octo 12 at Common Ground Art Gallery
3277 Sandwich Street, Windsor
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part 1
1. Scraptures: 12th Sequence, bpNichol (Canada, 1967?); source: photocopy from TORONTO LIFE (issue # & editor unknown, Toronto, 1968). & on the 12th "day", humanity stuck its heads up from the muck & goo, took a look around in its state of ignorant grace, & knew but lustful fear. arrangement dedicated to Jan Svankmeyer. full quartet
2. WELTWEHE, August Stramm (Germany, 1914); source: KROKLOK ⌗3 (ed.dom sylvester houédard, London, UK, Writers Forum, 1972). Stramm's scope is nothing less than cosmic in this, his most extreme narrative composed almost solely of verbs, fuelled & shaped by the battlefields he wrote in & the ciphers he wired his poems home through. solo
3. SIX-FOUR, Alastair Larwill (Canada, 2o1o); source: unpublished manuscript. accumulative disintegrational polysyllabicism formulated as an audio illustration in a discussion of articulational deliberateness with its dedicatee, Rob Read. full quartet
4. Generations, bpNichol (Canada, 1988); source: bpNichol, gIFTS The Martyrology Book(s) 7 (&) (Toronto, Coach House Press, 199o). Nichol's numerical interpolations distract & enact a simultaneous metanarrative between his given text & what's given through his interferences with it. solo
5. Againful Deployment, jwcurry (Canada, 1981?); source: monograph (Ottawa, 1cent, 2oo1). a "sound poem for an assemblyline of voicings" spiralling outta the conch into yr cochnea. full quartet
6. Salmon River Soliloquy, David UU (Canada, 1973); source: David UU, High C (Toronto, Underwhich Editions, 1991). a rather straightforward poem siding with the fishes. solo
7. anacyclic poem with two shouts DHARMATHOUGHTS STUPAWARDS, dom sylvester houédard (England, 1966); source: KROKLOK ⌗1 (ed.dom sylvester houédard, London, Writers Forum, 1971). "for the artists protest committee for their call from losangeles for a tower against the war", an anagrammatic poem in 3 vowels & 4 consonants. duo: curry/Mathewson
8. " BREATH IS ", bill bissett (Canada, 1966?); source: bill bissett, fires in th tempul OR TH JINX SHIP ND OTHR TRIPS (Vancouver, Very Stone House, 1966). one of bissett's concrete scattertexts, here divided into a demonstration of the logic inherent in his more radical field compositions. duo: curry/Larwill
9. Oiseautal / Super-Bird-Song, Raoul Hausmann (France, 1918?) & Kurt Schwitters (England, 1946?) respectively; source: Raoul Hausmann & Kurt Schwitters, PIN and the story of PIN (London, UK, Gaberbocchus Press, 1962). brought together by the 1st world war & separated by the 2nd, both friends independently came to write short works based on birdsound. this interlineated arrangement by curry (2oo9?) is a step toward A Visit to the Aviary, a short suite of related material from various sources. duo: curry/Pirie
1o. THREE/FOUR: OF TIME, bpNichol (Canada, 1985); source: 5e echanges internationaux de poesie contemporaine, ed.Julien Blaine (Tarascon, France, L'A.G.R.I.P.P.A., 1988). the 3rd in Nichol's "TIME" series "for the 4 Horsemen", this one targetting the structure of the waltz for vigorous interrogation. full quartet
11. Calling The Vegetable Collected, jwcurry (Canada, 2oo8); source: monograph (2nd ed, Ottawa, 1cent, 2oo8). hocketed statements that build multiple syntactic paths as the fragments first cohere, then disintegrate. full quartet
12. GLiNE OR EXTRATERRESTRIAL OCCURRENCES, Vaughn Bodé (USA, 1972?); source: Vaughn Bodé, JUNKWAFFEL no.3 (Berkeley, The Print Mint, 1972). Bodé's 5pp comic relieved of its graphic anchor, its text no less rich in its significtions despite the lack of signposts. solo
13. KNOTS, jwcurry (Canada, 1982?); source: The (Almost) Instant Anthology '88, ed.Beverley Daurio, Daniel Jones & bpNichol (Toronto, Meet The Presses, 1988). excerpts from a "translation into concrete poetry" of R.D.Laing's lineated neuroses trackings, subsequently unreknotted & strung out as a schizologue for 2. duo: Larwill/Mathewson
14. The Tibetan Memory Trick, traditional/arranged by Howard Kaylan, Ian Underwood & Mark Volman (USA, 1974); source: Flo & Eddie, ILLEGAL, IMMORAL AND FATTENING (Canadian pressing, Columbia Records Limited, 1975). spontaneous insertion into KNOTS above. everyone in the band gets put through this one for articulational, breathing & body memory development. full quartet.
15. AGATHA! WAKE UP! I'M CURED!, Richard Beland (Canada, 1992?); source: unpublished manuscript. Beland's language lines are as plastic as his visual lines, this short prose morphing from sense to sound to resense with every step. solo
16. MUSHY PEAS, Steve McCaffery & bpNichol (England, 1978); source: Steve McCaffery & bpNichol, IN ENGLAND NOW THAT SPRING (Toronto, Aya Press, 1979). 6 pp of drawn optophonetics as visual field for improvisation. duo: curry/Larwill
17. sounds' favorite words, Paul Haines (Canada, 1986), as quoted in full in an extract from Haines' Jubilee; source: Paul Haines, Secret Carnival Workers (Toronto? H Pal Productions, 2oo7), with reference to Michel Contat's reading on Haines' DARN IT! (USA, American Clavé, 1994). hijacked as a footnote of manysorts. Jubilee ends "Unrelatedly, there was a recital of whisk the morning of 17 July after a night the cats had raised hell on the front lawn, a group of robins fallen by the side of the hedge as though meeting on a street corner and – now headless to prove it – plumb run out of things to say, but still prettier representations of events than the sparrows the exact size of erasers stacked up with the heads on. // Which of course are words apart." solo
part 2
18. TOTEM ÉTRANGLÉ, Antonin Artaud (France, 1964?); source: KROKLOK ⌗2 (ed.dom sylvester houédard, London, Writers Forum, 1971), with reference to Antonin Artaud/trans.Helen Weaver, Selected Writings (New York,Farrar Straus And Groux, 1976). "For years I have had an idea of the consumption, the internal consummation of language by the unearthing of all manner of torpid and filthy necessities." (Artaud in a letter to Henri Parisot, 22 sep 45). 18 of these sound cycles excised (by Artaud) from elsewhere in his writings (Here Lies; Insanity and Black Magic; The Return of Artaud, Le Momo; To Have Done with the Judgement of God; Van Gogh, The Man Suicided by Society) & formally linked as a suite. full quartet
19. ma meeshka mow skwoz, Mike Patton (USA, 1995); source: monograph (San Francisco, privately published, 1995), with reference to Mr.Bungle, disco volante (USA, Warner Brothers Records Incorporated, 1995), with music by Trey Spruance. Patton's drawn optophonetic text yields "extended range" vocalics that're all but buried in this complex piece of high-impact chamber music. a chance to hear the relentless trajectory of the text on its own. solo
2o. East Wind, bpNichol (Canada, 1979?); source: Four Horsemen, The Prose Tattoo (Milwaukee, Membrane Press, 1983). a gridtext deployed through overlaid extended breathlines, vowels blowing consonants all over the place. full quartet
21. The Multiples, Steve McCaffery (Canada, 1981); source: abs TruCt heh GarBagt, editor unknown (an insert in CABINET ⌗1, USA, Immaterial Incorporated, 2ooo), transcribed by Rob Read (Canada, 2o11?). a multiplicity of mispronuncimicated masticatiums of eaneming, the contrast between what you seam to be hearing & what are here seming to be. duo: curry/Mathewson
22. A Letterklankbeelden Poem, I.K.Bonset (Holland, 192o); source: Imagining Language An Anthology, edited by Steve McCaffery & Jed Rasula (2nd ed, Cambridge, USA, MIT Press, 2oo1). with line lengths (mainly) one letter long, Bonset – among other things, a type designer – was simultaneously & independently investigating notions of optophonetics similar to Raoul Hausmann's with diacritic modifiers. terse. solo
23.SIZERZ, Steve McCaffery (Canada, 1976); source: THE CAPILANO REVIEW ⌗31 (ed.Steven Smith & Richard Truhlar, North Vancouver, 1984). severe elemental hocketing coupled with ordered layerings subjected to consistent randomizations. full quartet
24. roses that, d.a.levy (USA, 1966); source: UKANHAVYRFUCKINCITI BAK, ed.Robert J.Sigmund (Cleveland, Ghost Press, 1968). "for gene" (presumably Fowler), a cyclic concrete poem in linear form pumping ackackfire into the imperialism of semantic politics. solo
25. IT CAN'T HAPPEN HERE, Frank Zappa (USA, 1964); source: Mothers Of Invention, FREAK OUT! (USA, Verve Records, 1965), transcribed & arranged by jwcurry (2oo7). a somewhat remented barberchopping routine that only seems to leave metre & tonality behind, part 2 of Help, I'm A Rock, featuring Georgia Mathewson as Suzy Creamcheese ("You blew your mind on too much koolaid"). full quartet
26. BALLADS OF THE RESTLESS ARE, bpNichol (Canada, 1967?); source: monograph (2nd ed. Ottawa, Curvd H&z, 2oo6). "two versions/common source" of elemental theme & variations presented as comparative simultaneities in a "quartet for 2 voices" [curry]. duo: curry/Larwill
27. A Little Valentine, Steve McCaffery (Canada, 1977); source: Steve McCaffery, research on the mouth (Toronto, Underwhich Editions, 1978?), transcribed & arranged by jwcurry & Sheena Mordasiewicz (2o12). a trystcycle built for 2 interpenetrates itself to become a relentless rush toward simultaneous climax. duo: curry/Larwill
28. Pieces Of Stop, bpNichol (Canada, 1978); source: as 2o above. "for Greta Monach", an extremely literal approach to the score that casts the reversed expectations of its sound envelopes into stark relief. full quartet
29. auf dem land, ernst jandl (Austria, 1968?); source: konkrete poesie deutschsprachige autoren, ed.eugen gomringer (reprint? Stuttgart, Philipp Reclam, 198o). an "utter zoo" octupletted & arranged as simultaneous nouns'n'sounds. duo: curry/Larwill
3o. GLASS ON THE BEACH, Richard Truhlar (Canada, 1978?); source: Owen Sound, Beyond The Range (Toronto, Underwhich Editions, 198o), transcribed by jwcurry from a trio (Michael Dean, Steven Smith, Richard Truhlar) recording at The Music Gallery in Toronto, 18 august 1979, with additional parts adapted from 2 manuscript scores courtesy of Truhlar. extended vocal waveforms with buried shards. full quartet
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with Big Thanks to Gustave Morin for causing it, Jenny Kimmerly for the programmes, Jarrod Ferris for filming, Kung To for rehearsal space, Chris (dunno yr last name) & Sergio Forest for the fantastic homemade onion rings &, 'fcourse, the band for the pleasure & hard work
front cover: bpNichol, Pieces Of Stop (28), rescored by jwcurry (bottom: lettering by curry)
rear cover: dom sylvester houédard, anacyclic poem with two shouts DHARMATHOUGHTS STUPAWARDS (7)
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see also:
announcements:
www.flickr.com/photos/48593922@N04/8078983925/
www.citywindsor.ca/residents/Culture/Mackenzie-Hall/Pages...
pagehalffull.com/pesbo/2012/10/12/sunday-oct-21-messagio-...
issuu.com/uwindsorlance/docs/thelance-85-16 (down on p.6)
www.flickr.com/photos/48593922@N04/8152980663/
photographs:
www.flickr.com/photos/pearlpirie/8119045118/
www.flickr.com/photos/pearlpirie/8119033749/
www.flickr.com/photos/pearlpirie/8119034091/
www.flickr.com/photos/pearlpirie/8119046498/
There appears to be at least one of every model here, including a station wagon, a convertible, trucks, and Mercurys.
Every toy or model Ferrari I have, from Mattel Hot Wheels, Maisto Assembly Line, Ixo, and even one Takara/Hasbro Transformers (the original version of Overdrive, which is obviously supposed to be a Ferrari 308, though I don't think they had permission from Ferrari to make it, so there are a couple of minor cosmetic differences).
I have way too much time on my hands. See the tags for the types of cars, I'm not typing all that out again.
I took these 11 Photographs of the Machinery used in Bottling Coca Cola at the World of Coca Museum, in Atlanta, Georgia.
Pharmacist John Stith Pemberton invented Coca Cola in 1886. The Coca Cola Museum fronts on a small park near the Hilton Garden Inn Hotel where we stayed during our visit to Atlanta. The World of Coca Cola Museum is located at 121 Baker Street NW, Atlanta, GA 30313.
In June 2018, my wife & I attended a Family Wedding at the Hilton Garden Inn, 275 Baker Street in Atlanta, Georgia. One end the hallway on the on the 13 Floor (they call it Floor PH) gave me a Great View of the CSX Tracks, while the other end of the hallway gave me a great view of the Skyview Ferris Wheel across the street from Centennial Olympic Park.
Since we were in Atlanta for several days, I had some time to visit the Coca Cola Museum, which was a short 2 blocks away from our Hotel.
Austin Morris Division's No. 2 car assembly building. The trim assembly line for the complete range covered exactly 100 yards. Within this length the painted body shell was completely converted into a fully trimmed unit.
From a 1968 promotional book published by the British Leyland Motor Corporation. Fascinating tour of what the UK lost when this company went bust. But also shows how the organisation contained the seeds of its own destruction - too many different brands, models, activities etc
August 1964 American Motors press photo of new 1965 Rambler Ambassador 880 4-door sedan at the Main Kenosha Assembly Plant, completed and awaiting delivery. The incomplete car shells built at the Lakefront Plant would then be trucked across town to the Main Kenosha Assembly Plant for final assembly and delivery. The Lakefront Plant was closed in 1988 and demolished for the new Harborpark development, with a PCC streetcar shuttle in the revitalized area. Portions of the main plant continued to build engines as a Chrysler facility until October 2010 and then demolished in 2013.
Factory delivered price for 1965 Rambler Ambassador 880 4-door sedan: $2,519 (six)/$2,610 (V8).
They're both 1/24 scale models from Maisto; the "new" Ford Mustang GT with the Montreal Canadiens logos on it is an special NHL commemorative car made by Maisto for Top Dog Collectables, while the plain blue 1960's Mustang GT is a screw-together "Assembly Line" kit.
By the way, yes, I am aware of the incongruity of having a car with a Montreal Canadiens logo on an American flag, so nobody needs to point it out.
This company dormitory houses over 200 people, six to a room. The rent is 50 cents a day.
Lunch and Dinner at work is free at the company cafeteria. There is an hour long nap after lunch on the floor, and in the cubicles. Soft music starts to play and grows in volume when it is time to wake up.
Valentine Tanks on the Assembly Line in the Tank Shop, Elswick Works, Newcastle upon Tyne, 28 September 1942 (TWAM ref. DX1529/1).
‘Workshop of the World’ is a phrase often used to describe Britain’s manufacturing dominance during the Nineteenth Century. It’s also a very apt description for the Elswick Works and Scotswood Works of Vickers Armstrong and its predecessor companies. These great factories, situated in Newcastle along the banks of the River Tyne, employed hundreds of thousands of men and women and built a huge variety of products for customers around the globe.
The Elswick Works was established by William George Armstrong (later Lord Armstrong) in 1847 to manufacture hydraulic cranes. From these relatively humble beginnings the company diversified into many fields including shipbuilding, armaments and locomotives. By 1953 the Elswick Works covered 70 acres and extended over a mile along the River Tyne. This set of images, mostly taken from our Vickers Armstrong collection, includes fascinating views of the factories at Elswick and Scotswood, the products they produced and the people that worked there. By preserving these archives we can ensure that their legacy lives on.
(Copyright) We're happy for you to share this digital image within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email info@twarchives.org.uk.
an evening of chant, sprechgesang, genrificational transubstantiation, glossolalics, aural climates & other things resembling, sharing properties with or being sound poetry through the voices of
jwcurry
Alastair Larwill
Sheena Mordasiewicz
Brian Pirie
Zachary Robert
6 may 2o12 at 7 PM
ArrayMusic Studio
6o Atlantic Avenue
Toronto
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1st 1/2
1. sounds' favorite words, Paul Haines (Canada, 1986), as quoted in full in extract from Paul Haines, Jubilee; source: Paul Haines, Secret Carnival Workers (Toronto?, H Pal Productions, 2oo7), with refernce to Michel Contat's reading on Paul Haines, DARN IT! (USA, American Clavé, 1994). hijacked as an introduction of manysorts. Jubilee ends "Unrelatedly, there was a recital of whisk the morning of 17 July after a night the cats had raised hell on the front lawn, a group of robins fallen by the side of the hedge as though meeting on a street corner and – now headless to prove it – plumb run out of things to say, but still prettier representations of events than the sparrows the exact size of erasers stacked up with the heads on. // Which of course are words apart." reader: curry
2. breath is, bill bissett (Canada, 1966?); source: fires in th tempul or TH JINX SHIP ND OTHR TRIPS (Vancouver, Very Stone House, 1966). concrete scattertext arranged by curry (2oo9) as duo demonstration of the logic inherent in bissett's more radical field compositions. readers: curry, Larwill
3. auf dem land, ernst jandl (Austria, 1968?); source: konkrete poesie deutschsprachige autoren, edited by Eugen Gomringer (Stuttgart, Philipp Reclam, reprint?, 198o). an "utter zoo" octupletted & here arranged as simultaneous nouns'n'sounds. readers: curry, Larwill
4. Scraptures: 12th Sequence, bpNichol (Canada, 1967?); source: bpNichol, gIFTS The Martyrology Book(s) 7 (&) (Toronto, Coach House Press, 199o). & on the 12th "day", humanity stuck its heads up from the muck & goo, took a look around in its state of ignorant grace, & knew but lustful fear. arrangement dedicated to Jan Svankmeyer. full quintet
5. KNOTS, jwcurry (Canada, 1982?); source: The (Almost) Instant Anthology '88, edited by Beverley Daurio, Daniel Jones & bpNichol (Toronto, Meet The Presses, 1988). excerpts from a "translation into concrete poetry" of R.D.Laing's lineated neuroses trackings, subsequently unreknotted & strung out as schizologue for 2 voices. readers: curry, Mordasiewicz
6. GOING CRITICAL, jwcurry/Michèle Provost (Canada, 2oo9); source: ABSTrACTS / RéSUmÉS, edited by Michèle Provost (Gatineau, privately published, 2o1o). a critical appreciation of Marcel Dzama (by Joseph R.Wolin in CANADIAN ART 25:3) is subjected to sibilant excision & extreme subsyllabic hocketing. full quintet
7. EAST WIND, bpNichol (Canada, 1979?); source: Four Horsemen, The Prose Tattoo (Milwaukee, Membrane Press, 1983). gridtext deployed through overlaid extended breathlines. our version approaches the score much more literally than did the Horsemen's more freewheeling phonetic romps. readers: curry, Larwill, Pirie, Robert
8. roses that, d.a.levy (USA, 1966); source: UKANHAVYRFUCKINCITI BAK, edited by Robert J.Sigmund (Cleveland, Ghost Press, 1968). "for gene" (presumably Fowler), a cyclic concrete poem in linear form pumping ackackfire into the imperialism of politics & semantics. reader: curry
9. Oiseautal / Super-Bird-Song, Raoul Hausmann (France, 1918?) & Kurt Schwitters (England, 1946?), respectively; source: Raoul Hausmann & Kurt Schwitters, PIN and the story of PIN (London, Gaberbocchus Press, 1962). brought together by the 1st world war & separated by the 2nd, both friends independently came to write short works based on birdsound. this interlineated arrangement by curry (2oo9?) is a step toward A Visit to the Aviary, a short suite of related material from various sources. readers: curry, Pirie
1o. Pieces of Error, Alastair Larwill (Canada, 2o12); source: unpublished. a slice of seriously afflicted time in far-removed homage to Robert Ashley & bpNichol. full quintet
11. anacyclic poem with two shouts DHARMATHOUGHTS STUPAWARDS, dom sylvester houédard (England, 1966); source: KROKLOK 1 (edited by dom sylvester houédard, London, Writers Forum, 1971). "for the artists protest committee for their call from losangeles for a tower against the war" (dsh in KROKLOK 1), an anagrammatic poem in 3 vowels & 4 consonants. readers: curry, Mordasiewicz
12. WORM, bob cobbing (England, 1954); source: CEOLFRITH 26 (edited by Peter Mayer, Sunderland, Ceolfrith Press, 1974). one of cobbing's earliest semantic derivations into sound burrowing through concrete. full quintet
13. TOTEM ÉTRANGLÉ, Antonin Artaud (France, 1964?); source: KROKLOK 2 (edited by dom sylvester houédard, London, Writers Forum, 1971), with reference to Antonin Artaud/translated by Helen Weaver, Selected Writings (New York, Farrar Straus And Groux, 1976). "For years I have had an idea of the consumption, the internal consummation of language by the unearthing of all manner of torpid and filthy necessities." (Artaud in a letter to Henri Parisot, 22 september 1945). 18 of these sound cycles excised (by Artaud) from elsewhere in his writings (Here Lies, Insanity and Black Magic, The Return of Artaud, Le Momo, To Have Done with the Judgement of God, Van Gogh, The Man Suicided by Society) & formally linked as a suite. readers: curry, Larwill, Pirie, Robert
14. It Can't Happen Here, Frank Zappa (USA, 1964); source: Mothers Of Invention, FREAK OUT! (USA, Verve Records, 1965). a somewhat remented barbershopping routine that only seems to leave metre & tonality behind. part 2 of Help, I'm A Rock, featuring Sheena Mordasiewicz as Suzy Creamcheese (after she got her shots). full quintet
15. GLASS ON THE BEACH, Richard Truhlar (Canada, 1978?); source: Owen Sound, Beyond The Range (Toronto, Underwhich Editions, 198o). transcribed by curry from a trio (Michael Dean, Steven Smith, Richard Truhlar) recording at The Music Gallery in Toronto, 18 august 1979, with additional parts adapted from 2 manuscript scores courtesy of Truhlar. extended vocal waveforms with buried shards. full quintet
16. Pieces Of Stop, bpNichol (Canada, 1978); source: (as 7 above). "for Greta Monach". an extremely literal take that casts the reversed expectations of its sound envelopes into starker relief. readers: curry, Larwill, Pirie, Robert
2nd 1/2
17. BALLADS OF THE RESTLESS ARE, bpNichol (Canada, 1967?); source: monograph (2nd edition, Ottawa, Curvd H&z, 2oo6). "two versions/common source" of elemental theme & variations, here arranged by curry as comparative simultaneity in a "quartet for 2 voices". readers: curry, Robert
18. Mon Olivine, Claude Gauvreau (Canada, 196-?); source: Lords of Winter and of Love, edited by Barry Callaghan (Toronto, Exile Editions, 1983). an intact excerpt from Boucliers mégalomanes, a suite of poetic corruptions. reader: Robert
19. TWO: Less Time, bpNichol (Canada, 1982?); source: THE CAPILANO REVIEW 31 (edited by Steven Smith & Richard Truhlar, North Vancouver, 1984). vowelless gridtext with variable reading paths. full quintet
2o. The Dangerous Kitchen, Frank Zappa (USA, 198-?); source: monograph (North Hollywood, Munchkin Music, 1984), with reference to many recorded versions, most specifically on Frank Zappa, The Man from Utopia (Los Angeles, Barking Pumpkin Records, 1983). while Zappa's lyrics are ordinarily accompanied by improvised electric jazzband meltdown boop-bop atonalities, we thought it worth a lampshade to simulate some verbal discontinuities for an alternate approach toward parasepsis. full quintet
21. The Tibetan Memory Trick, traditional/arranged by Howard Kaylan, Ian Underwood & Mark Volman (USA, 1974?); source: Flo & Eddie, ILLEGAL, IMMORAL AND FATTENING (Canadian pressing, Columbia Records Limited, 1975). everyone in the band gets put through the grinder on this one, just in case we might use it; it develops articulational skills, breath control & body memory. inserted into 2o above. full quintet
22. TAR TRAITS, Richard Truhlar (Canada, 1977); source: unpublished. curry's arrangement (2o12) of Truhlar's sound excavations from Steve McCaffery's THe TeN PoRtRaiTS (1975), itself derived from an "interview with some N.Y. prostitutes". McCaffery's note on his own compositional methods in Ow's Waif apply even moreso to Truhlar's furtherance of it: "The operating analogy in many cases was cubism: the process of fragmentation and reconstitution of a known thing in a fresh form." readers: curry, Pirie, Robert
23. THE MAN IN THE LOWER LEFT HAND CORNER OF THE PHOTOGRAPH, Mike Patton (USA, 1995); source: Mike Patton, ADULT THEMES for Voice (New York, Tzadik, 1996). transcribed by curry (2oo7) from solo construction for voice & tape recorder, the transcription (& reading) attempts to replicate the extreme edits, abruptions & machine stresses of the collage original. reader: curry
24. SHIFT 3, jwcurry/Peggy Lefler (Canada, 1982); source: monograph (Toronto, Curvd H&z, 1982). notes stated in reading. introduction: Pirie; readers: curry, Mordasiewicz
25. Four for Time, Alastair Larwill (Canada, 2o11?); source: unpublished. a determined hoiking up of the textures & procedures spurred by bpNichol's TWO: Less Time (19 above). full quintet
26. Calling The Vegetable Collected, jwcurry (Canada, 2oo8); surce: monograph (2nd edition, Ottawa, 1cent, 2oo8). hocketed statement that builds multiple syntactic paths as its fragments split further en cycle. readers: curry, Larwill, Pirie, Robert
27. Salmon River Soliloquy, david uu (Canada, 1973); source: david uu, High C (Toronto, Underwhich Editions, 1991). a rather straightforward poem siding with the fishes. reader: curry
28. THREE/FOUR: OF TIME, bpNichol (Canada, 1985); source: 5e échanges internationaux de poésie contemporaine, edited by Julien Blaine (Tarascon, L'A.G.R.I.P.P.A., 1988). Nichol's next-in-sequence "for the 4 Horsemen" to his TWO: Less Time (19 above). readers: curry, Mordasiewicz, Pirie, Robert
29. Againful Deployment, jwcurry (Canada, 1981?); source: monograph (Ottawa, 1cent, 2oo1). a "sound poem for an assemblyline of voicings" spiralling outta the conch into yr cochnea. full quintet
3o. My Olivine, ClaudeGauvreau (see 18 above)/translated by Ray Ellenwood (Canada, 197-?); source: ELLIPSIS 17 (edited by Richard Giguère & Larry Shouldice, Sherbrooke, 1975). Ellenwood's casting of Gauvreau's pornographic neologistics into an english setting, every bit as lurid as its progenital. reader: curry
31. WHITE TEXT SURE version ten, bpNichol (Canada, 1981); source: INDUSTRIAL SABOTAGE 63 (edited by jwcurry, Ottawa, Curvd H&z, 2oo8). a gridscore "for the Horsemen"'s massed vocal textures, based on Nichol's earlier (1966) collaboraton with David Aylward, WHITE SOUND. this version of this version reïncorporates randomly the colour panels of Nichol's interim revision, WHITE SOUND :a variant (1976). readers: curry, Larwill, Pirie, Robert
32. MUSHY PEAS, Steve McCaffery/bpNichol (England, 1978); source: Steve McCaffery & bpNichol, IN ENGLAND NOW THAT SPRING (Toronto, Aya Press, 1979). 6 pages of optophonetics as improvisational ground. readers: curry,Larwill
33. SIZERZ, Steve McCaffery (Canada, 1976); source: (as 19 above), with reference to Steve McCaffery, research on the mouth (Toronto, Underwhich Editions, 1979). severe elemental hocketing coupled with ordered layerings subjected to consistent randomizations. full quintet
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cover: bill bissett (source for score to 2 above)
also illustrated on rear cover, a page from 32 above
Very Big Thanks to Rachel Lindsey (who was to read with us but was prevented from doing so by a family tragedy), Sandra Bell (who made the studio rental painless), Gio Sampogna (camera duties) & Pearl Pirie (manning the door). Special Thanks, of course, to the band, whose abilities, enthusiasm & relentless rehearsal have in no small way helped shape the final form of tonight's take.
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filmed by Heinz Gloss
__________________________________________________
see also:
announcements:
www.flickr.com/photos/48593922@N04/7454268492/
pagehalffull.com/pesbo/2012/05/04/messagio-galore-ix-toro...
www.facebook.com/events/285060778241711/
reviews:
an evening of sound poetry & similaria read by
jwcurry
Rachel Lindsey
Sheena Mordasiewicz
Brian Pirie
Zachary Robert
& special guest Alastair Larwill
1o august 2o12 at Rockcliffe Park Pavillion in Rockcliffe Park, Ottawa, 7 PM
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part 1
1. sounds' favorite words, Paul Haines (Canada, 1986), as quoted in full in an extract from Haines' Jubilee; source: Paul Haines, Secret Carnival Workers (Toronto?, H Pal Productions, 2oo7), with reference to Michel Contat's reading on Haines, DARN IT! (USA, American Clavé, 1994). hijacked as an introduction of manysorts. Jubilee ends "Unrelatedly, there was a recital of whisk the morning of 17 July after a night the cats had raised hell on the front lawn, a group of robins fallen by the side of the hedge as though meeting on a street corner and – now headless to prove it –plumb run out of things to say, but still prettier representations of events than the sparrows the exact size of erasers stacked up with the heads on. // Which of course are words apart." reader: curry
2. anacyclic poem with two shouts DHARMATHOUGHTS STUPAWARDS, dom sylvester houédard (England, 1966); source: KROKLOK ⌗1 (ed.dom sylvester houédard, London, Writers Forum, 1971). "for the artists protest committee for their call from losangeles for a tower against the war (houédard in KROKLOK ⌗1), an anagrammatic poem in 3 vowels & 45 consonants. readers: curry, Mordasiewicz
3. TAR TRAITS, Richard Truhlar (Canada, 1977); source: primarily-unpublished manuscript (excerpts published as a postcard, Toronto, Curvd H&z, 1989; in INDUSTRIAL SABOTAGE ⌗54, ed.jwcurry, Ottawa, Curvd H&z, 1997; in 1CENT ⌗35o, ed.jwcurry, Ottawa, 2oo1). curry's arrangement (2o12) of Truhlar's sound excavations from Steve McCaffery's THe TeN PoRtRaiTS (1973), itself derived from an "interview with some N.Y. prostitutes". McCaffery's note on his own compositional methods in Ow's Waif (Toronto, Coach House Press, 1975) apply even moreso to Truhlar's furtherance of it: "The operating analogy in many cases was cubism: the process of fragmentation and reconstitution of a known thing in a fresh form." readers: curry, Lindsey, Pirie
4. Scraptures: 12th Sequence, bpNichol (Canada, 1967?); source: bpNichol, gifts (Toronto, Coach House Press, 199o); arrangement by curry (2o12): & on the 12th "day", humanity stuck its heads up from the muck & goo, took a look around in its state of ignorant grace, & knew but lustful fear. arrangement dedicated to Jan Svankmeyer. full quintet
5. A Little Valentine, Steve McCaffery (Canada, 1977); source: Steve McCaffery, research on the mouth (Toronto, Underwhich Editions, 1978?), transcribed & arranged by curry & Mordasiewicz (2o12). a trystcycle built for 2 interpenetrates itselves to become a relentless rush toward simultaneous climax. readers: curry, Mordasiewicz
6. breath is, bill bissett (Canada, 1966?); source: fires in th tempul OR TH JINX SHIP ND OTHR TRIPS (Vancouver, Very Stone House, 1966), arranged by curry (2oo9). one of bissett's concrete scattertexts, here divided into a duo demonstration of the logic inherent in his more radical field compositions. readers: curry, Lindsey
7. EAST WIND, bpNichol (Canada, 1979?); source: Four Horsemen, The Prose Tattoo (Milwaukee, Membrane Press, 1983). gridtext deployed through overlaid extended breathlines, our version approaches the score much more literally than did the Horsemen's more freewheeling phonetic romps. readers: curry, Lindsey, Mordasiewicz, Pirie
8. The Dangerous Kitchen, Frank Zappa (USA, 1983?); source: monograph (North Hollywood, Munchkin Music, 1984), with reference to many recorded versions, most specifically on Frank Zappa, The Man from Utopia (Los Angeles, Barking Pumpkin Records, 1983), while Zappa's lyrics are ordinarily accompanied by improvised electric jazzband meltdown boop-bop atonalities, we thought it worth a lampshade to simulate some verbal discontinuities for an alternate avenue toward parasepsis. readers: full sextet
9. The Tibetan Memory Trick, traditional/arranged by Howard Kayland, Ian Underwood & Mark Volman (USA, 1974); source: Flo & Eddie, ILLEGAL, IMMORAL AND FATTENING (Canadian pressing, Columbia Records, 1975). everyone in the band gets put through this one for articulational, breathing & body memory development. inserted into 8 above. full sextet
part 2
1o. The Multiples, Steve McCaffery (Canada, 199-?); source: transcription by Rob Read (2o11?) from a recording by McCcaffery (unpublished?). a multiplicity of mispronuncimicated masticatiums of eaneming; a study in contrasts between what you seme to be hearing & what you here are seeming to be. readers: curry, Lindsey
11. Calling The Vegetable Collected, jwcurry (Canada, 2oo8); source: monograph (2nd ed, Ottawa, 1cent, 2oo8). hocketed statements that build multiple syntactic paths as the fragments first cohere, then disintegrate. readers: curry, Lindsey, Mordasiewicz, Pirie
12. Againful Deployment, jwcurry (Canada, 1981?); source: monograph (Ottawa, 1cent, 2oo1). a "sound poem an assemblyline of voicings" spiralling outta the conch into yr cochnea. readers: full quintet
13. Salmon River Soliloquy, david uu (Canada, 1972); source: david uu, High C (Toronto, Underwhich Editions, 1991). a rather straightforward poem siding with the fishes. reader: curry
14. Oiseautal / Super-Bird-Song, Raoul Hausmann (France, 1918?) & Kurt Schwitters (England, 1946?), respectively; source: Raoul Hausmann & Kurt Schwitters, PIN and the story of PIN (London, Gaberbocchus Press, 1962). brought together by the 1st world war & separated by the 2nd, both friends independently came to write short works based on birdsound. this interlineated arrangement by curry (2oo9?) is a step toward A Visit to the Aviary, a short suite on related material from various sources. readers: curry, Pirie
15. A Little Nastiness, Four Horsemen [Rafael Barreto-Rivera, Paul Dutton, Steve McCaffery, bpNichol] (Canada, 1981); source: (as 7 above). semantics go sonic through interpersonal badinage. readers: full quintet
16. KNOTS, jwcurry (Canada, 1982?); source: The (Almost) Instant Anthology '88, ed.Beverley Daurio, Daniel Jones & bpNichol (Toronto, Meet The Presses, 1988). excerpts from a "translation into concrete poetry" of R.D.Laing's lineated neuroses trackings, subsequently unreknotted & strung out as schizologue for 2 voices. readers: curry, Mordasiewicz
17. SIZERZ, Steve McCaffery (Canada, 1976); source: THE CAPILANO REVIEW ⌗31 (ed.Steven Smith & Richard Truhlar, North Vancouver, 1984). severe elemental hocketing coupled with ordered layerings subjected to consistent randomizations. readers: curry, Lindsey, Mordasiewicz, Pirie
18. MUSHY PEAS, Steve McCaffery & bpNichol (England, 1978); source: Steve McCaffery & bpNichol, IN ENGLAND NOW THAT SPRING (Toronto, Aya Press, 1979). 6 pages of optophonetics as improvisational ground. readers: curry, Lindsey, Pirie
19. IT CAN'T HAPPEN HERE, Frank Zappa (USA, 1964); source: Mothers Of Invention, FREAK OUT! (USA, Verve Records, 1965), transcribed & arranged by curry (2oo7). a somewhat remented barbershopping routine that only seems to leave metre & tonality behind, part 2 of Help, I'm A Rock, featuring Rachel Lindsey as Suzy Creamcheese ("what's got into ya, hunny?"). readers: curry, Lindsey, Pirie, Robert
part 3
2o. Dew On The Newts We Got, Frank Zappa (USA, 197o?); source: Frank Zappa, 2oo MOTELS (reissue, Salem, Metro-Goldwyn-Mayer Incorporated & Rykodisc, 1997), transcribed by curry (2o12). the 3rd movement (of 7) of the primarily choral suite I Have Seen The Pleated Gazelle (a goblin made me do it). readers: curry, Lindsey
21. BALLADS OF THE RESTLESS ARE, bpNichol (Canada, 1967?); source: monograph (2nd ed, Ottawa, Curvd H&z, 2oo6), arranged by curry (2oo9). "two versions/common source" of elemental theme & variations presented as comparative simultaneity in a "quartet for 2 voices". readers: curry, Robert
22. Pieces Of Stop, bpNichol (Canada, 1978); source: (as 7 above). "for Greta Monach", an extremely literal take that casts the reversed expectations of its sound envelopes into starker relief. readers: curry, Lindsey, Mordasiewicz, Pirie
23. auf dem land, ernst jandl (Austria, 1968?); source: konkrete poesie deutschsprachige autoren, ed.Eugen Gomringer (reprint?, Stuttgart, Philipp Reclam, 198o). an "utter zoo" octupletted & here arranged as simultaneous nouns'n'souns. readers: curry, Robert
24. THREE/FOUR: OF TIME, bpNichol (Canada, 1985); source: 5e échanges internationaux de poésie contemporaine, ed.Julien Blaine (Tarascon, L'A.G.R.I.P.P.A., 1988). the 3rd in Nichol's "TIME" series "for the 4 Horsemen", this one targeting the structure of the waltz for vigorous interrogation. readers: curry, Mordasiewicz, Pirie, Robert
25. GOING CRITICAL, jwcurry & Michèle Provost (Canada, 2oo9); source: ABSTrACTS / RéSUmÉS, ed.Michèle Provost (Gatineau, privately published, 2o1o). a critical appreciation of Marcel Dzama (by Joseph R.Wollin in Canadian Art 25:3) is subjected to sibilant excision & extreme subsyllabic hocketing, revealing an altogether different narrative perhaps closer in spirit to Dzama than Wolin may have intended. readers: full quintet
26. WORM, bob cobbing (England, 1964); source: CEOLFRITH ⌗26 (ed.Peter Mayer, Sunderland, Ceolfrith Press, 1974). one of cobbing's earliest semantic derivations into sound burrowing through concrete. raeders: full quintet
27. GLASS ON THE BEACH, Richard Truhlar (Canada, 1978?); source: Owen Sound [Michael Dean, David Penhale, Steven Smith, Richard Truhlar], Beyond The Range (Toronto, Underwhich Editions, 198o), trancribed by curry (2oo9) from a trio (Dean, Smith, Truhlar) recording at The Music Gallery in Toronto, 18 august 1979, with additional parts adapted from 2 manuscript scores courtesy of Truhlar. extended vocal waveforms with buried shards. readers: full sextet
__________________________________________________
front cover: bpNichol, THREE/FOUR: OF TIME
rear cover: jwcurry, Calling The Vegetable Collected
Big Thanks to all involved with extra dollops to Rachel Lindsey (vehicular vivacity & copymagic), Brian Pirie (communications), Ben Walker (documenteur), Amanda Earl (further communications contagion), Rachel Zavitz (tender love & care department) & Jessica Pieterse (who first brought me to the pavillion (you knew, didn't you!)). an extra whack on the back for Alastair Larwill, who came in on 3 pieces with us by spontaneous request.
__________________________________________________
filmed by Ben Walker
__________________________________________________
see also:
photos by Pearl Pirie:
Sheena Mordasiewicz pre-reading
review & photos by Rob McLennan:
www.robmclennan.blogspot.ca/2012/08/messagio-galore-take-...
I like the expression on the worker's face and the blues and yellows used in this North Wall detail.
My parents in law gave me the helictopter transporter set for my birthday. I used only parts from that set to create this little assembly line with three factory workers. I used most, but not all parts from the set. Scroll down for more views.
A lot of the manga seen here is French-translated, since I bought most of this while I was still living near Montreal and, while English-translated manga is fairly easily available in Montreal, a lot of these manga titles appeared in paperback format in French years before they were translated into English, and some of this manga, like Kimagure Orange Road, still has never seen print in English almost a decade after its full release in French.
I'll describe the junk on this bookshelf in the tags.
ANAGLYPH, conversion of original card stereoview in my collection: "P-V26360 Automobile Factory, Assembling Department -- Putting on Dash and Fenders." Keystone View Company, copyright Underwood & Underwood. The negatives were purchased from Underwood & Underwood by Keystone. This is part of one of the Primary sets and unfortunately it doesn't give the location.
This image views in 3D when wearing RED/CYAN 3D glasses.
The original stereoview is here: www.flickr.com/photos/depthandtime/5250620924/
I took these 11 Photographs of the Machinery used in Bottling Coca Cola at the World of Coca Museum, in Atlanta, Georgia.
Pharmacist John Stith Pemberton invented Coca Cola in 1886. The Coca Cola Museum fronts on a small park near the Hilton Garden Inn Hotel where we stayed during our visit to Atlanta. The World of Coca Cola Museum is located at 121 Baker Street NW, Atlanta, GA 30313.
In June 2018, my wife & I attended a Family Wedding at the Hilton Garden Inn, 275 Baker Street in Atlanta, Georgia. One end the hallway on the on the 13 Floor (they call it Floor PH) gave me a Great View of the CSX Tracks, while the other end of the hallway gave me a great view of the Skyview Ferris Wheel across the street from Centennial Olympic Park.
Since we were in Atlanta for several days, I had some time to visit the Coca Cola Museum, which was a short 2 blocks away from our Hotel.
The Genesee river on Tuesday, October 4, 2016. U.S. Department of Agriculture (USDA) Food and Nutrition Service (FNS) Disaster Household Distribution Program (DHHDP) activities by Genesee County Community Action Resource Department (GCCARD), are helping those in need. USDA Foods are being packaged and delivered to 17,000 households eligible for The Emergency Food Assistance Program (TEFAP) in the Flint area to help address the ongoing water crisis. DHHDP packages are prepositioned in shopping carts in the onsite distribution area that includes receptionists, commodity shelves, assistants, and checkout counters. The DHHDP consists of an additional 14-pound nutrient-targeted food package, containing foods rich in calcium, iron, and Vitamin C â which are believed to help limit the absorption of lead in the body. This number of boxes will be distributed each month for four months. The food is in addition to the regular allotment that TEFAP recipients currently receive. The packing line team included Michigan government employees volunteering their personal time produced hundreds of Commodity Supplemental Food Program (CSFP) and TEFAP packages. CSFP works to improve the health of low- income elderly persons at least 60 years of age by supplementing their diets with nutritious USDA Foods. USDA photo by Lance Cheung.
For more information about USDA -- www.usda.gov
For more information about FNS -- www.fns.usda.gov
For more information about Disaster Nutrition Assistance Programs, including DHHDP -- www.fns.usda.gov/sites/default/files/disaster/Disaster-Br...
For more information about CSFP -- www.fns.usda.gov/csfp/commodity-supplemental-food-program...
For more information about TEFAP -- www.fns.usda.gov/tefap/emergency-food-assistance-program-...
@USDA
Woman working on an airplane motor at North American Aviation Inc. plant in California. Photo by Alfred Palmer for the Farm Security Administration, June 1942.
This shot was taken from the abandoned Fisher Plant in Detroit. The view is of the historic Henry Ford Piquette plant. The plant was built in 1904, being the first plant built by the Ford Motor Company. Autos were built here, including the Model T from 1904 and 1919. From this plant, Ford would become the world's largest manufacturer of automobiles. The model T would be the first car built for a large number of people. At this plant, Ford also first began to experiment with the new concept of the assembly line for mass production. Ford had such great success, a newer and larger plant was needed. The Ford Motor Company thus moved to a larger, more technologically advanced facility in Highland Park.
a duration of sound poetry & similaria
edited & etceteraed by jwcurry for the combined auditoria of
jwcurry Alastair Larwill Georgia Mathewson Brian Pirie
& special guest Gary Barwin
at the Niagara Artists Centre, 7:3o PM 19 october 2o12
354 Saint Paul Street, Saint Catharines
__________________________________________________
part 1
1. The Multiples, Steve McCaffery (Canada, 1981); source: transcription by Rob Read (Canada, 2o11?) from a recording by McCaffery. a multiplicity of mispronuncimicated masticatiums of eaneming; a study in contrasts between what you seam to be hearing & what you here are seeming to be. readers: curry, Mathewson
2. SIX-FOUR, Alastair Larwill (Canada, 2o1o); source: unpublished manuscript. accumulative disintegrational polysyllabicism formulated as an audio illustration in a discussion of articulational deliberateness with its dedicatee, Rob Read. full quartet
3. A Letterklankbeelden Poem, I.K.Bonset (Holland, 192o); source: Imagining Language An Anthology, edited by Steve McCaffery & Jed Rasula (2nd ed, Cambridge, USA, MIT Press, 2oo1). with line lengths mainly one letter long, Bonset – among other things a type designer – was simultaneously & independently investigating Raoul Hausmann's notion of optophonetics in basic typeforms & diacritics. terse. solo
4. " breath is ", bill bissett (Canada, 1966?); source: bill bissett, fires in th tempul OR TH JINX SHIP ND OTHR TRIPS (Vancouver, Very Stone House, 1966). one of bissett's concrete scattertexts, here divided into a duo demonstration of the logic inherent in his more radical field compositions. readers: curry, Larwill
5. Againful Deployment, jwcurry (Canada, 1981?); source: monograph (Ottawa, 1cent, 2oo1). a "sound poem for an assemblyline of voicings" spiralling outta the conch into yr cochnea. full quartet
6. " kp'erioUM lp'erioum ", Raoul Hausmann (Germany, 1918); source: IL COLPO DI GLOTTIDE la poesia come fisicità e materia, ed.Luciano Caruso, Henri Chopin, Laura Marcheschi & Steliomaria Martini (Firenze, Vallecchi, 198o). an excellent type specimen ofHaumann's optophonetic texts: "the poem is an act consisting of respiratory and auditive combinations, firmly tied to...duration", all conveyed through letters in space. solo
7. East Wind, bpNichol (Canada, 1979?); source: Four Horsemen, The Prose Tattoo (Milwaukee, Membrane Press, 1983). a gridtext deployed through overlaid extended breathlines, vowels blowing consonants all over the place. full quartet
8. anacyclic poem with two shouts DHARMATHOUGHTS STUPAWARDS, dom sylvester houédard (England, 1966); source: KROKLOK ⌗1 (ed.dom sylvester houédard, London, UK, Writers Forum, 1971). "for the artists protest committee for their call from losangeles for a tower against the war", an anagrammatic poem in 3 vowels & 4 consonants. readers: curry, Mathewson
9. WELTWEHE, August Stramm (Germany, 1914); source: KROKLOK ⌗3 (ed.dom sylvester houédard, London, Writers Forum, 1972). Stramm's scope is nothing less than cosmic in this, his most extreme narrative composed almost exclusively of verbs, seemingly fuelled & shaped by the battlefields he wrote in & the ciphers he wired his poems home through. solo (with apologies for hopelessly anglo pronuncimicatiums)
1o. KNOTS, jwcurry (Canada, 1982?); source: The (Almost) Instant Anthology '88, ed.Beverley Daurio, Daniel Jones & bpNichol (Toronto, Meet The Presses, 1988). excerpts from a "translation into concrete poetry" of R.D.Laing's lineated neuroses trackings, subsequently unreknotted & strung out as schizologue for 2 voices. readers: Larwill, Mathewson
11. roses that, d.a.levy (USA, 1966); source: UKANHAVYRFUCKINCITI BAK, ed.Robert J.Sigmund (Cleveland, Ghost Press, 1968). "for gene" (presumably Fowler), a cyclic concrete poem in linear form pumping ackackfire into the imperialism of politics/semantics. solo
12. SIZERZ, Steve McCaffery (Canada, 1976); source: THE CAPILANO REVIEW ⌗31 (ed.Steven Smith & Richard Truhlar, North Vancouver, 1984). severe elemental hocketing coupled with ordered layerings subjected to consistent randomizations. full quartet
13. CANZONE RUMORISTA cantata in coro sui teatri d'Italia in ANICCAM del 2000, Fortunato Depero (Italy, 1916?); source: as 3 above. Depero's optophonetic procedure is here more regularly regularly multilineated, one of but 2 of the texts thus far found from his suite of unknown size (more information on this fellow would be highly appreciated). solo
14. TOTEM ÉTRANGLÉ, Antonin Artaud (France, 1964?); source: KROKLOK ⌗2 (ed.dom sylvester houédard, London, Writers Forum, 1971), with reference to Antonin Artaud/trans.Helen Weaver, Selected Writings (New York, Farrar Straus And Groux, 1976). "For years I have had an idea of the consumption, the internal consummation of language by the unearthing of all manner of torpid and filthy necessities." (Artaud in a letter to Henri Parisot, 22 september 1945). 18 of these sound cycles excised (by Artaud) from elsewhere in his writings (Here Lies; Insanity and Black Magic; The Return of Artaud, Le Momo; To Have Done with the Judgement of God; Van Gogh, The Man Suicided by Society) & formally linked as a suite. full quartet
part 2
15. Calling The Vegetable Collected, jwcurry (Canada, 2oo8); source: monograph (2nd ed, Ottawa, 1cent, 2oo8). hocketed statements that build multiple syntactic paths as the fragments first cohere, then disintegrate. full quartet
16. AGATHA! WAKE UP! I'M CURED!, Richard Beland (Canada, 199-?); source: unpublished manuscript. Beland's language lines are as plastic as his visual lines, this short prose morphing from sense to sound to resense with every step. solo
17. Scraptures: 12th Sequence, bpNichol (Canada, 1967?); source: photocopy from TORONTO LIFE (issue # & editor unknown, Toronto, 1968). & on the 12th "day", humanity stuck its heads up from the muck & goo, took a look around in its state of ignorant grace, & knew but lustful fear. arrangement dedicated to Jan Svankmeyer. full quartet
18. A Little Valentine, Steve McCaffery (Canada, 1977); source: Steve McCaffery, research on the mouth (Toronto, Undrwhich Editions, 1978?), transcribed & arranged by jwcurry & Sheena Mordasiewicz (2o12). a trystcycle built for 2 interpenetrates itself to become a relentless rush toward simultaneous climax. readers: curry, Larwill
19. Pieces Of Stop, bpNichol (Canada, 1978); source: as 7 above. "for Greta Monach", an extremely literal approach to the score that casts the reversed expectations of its sound envelopes into stark relief. ull quartet
2o. DAS GROSSE LALULA, Christian Morgenstern (Germany, 189o?); source: as 8 above. one of Morgenstern's few ventures outside semanticism into "phonetic rhapsody", an entry in the Galgenleider cycle & one of the earliest poems acknowledged as constructed on purely sound principles (KROKLOK, the magazine dedicated to the documentation of sound poetry's history, takes its name from the poem's 1st 2 syllables). solo
21. THE MAN IN THE LOWER LEFT HAND CORNER OF THE PHOTOGRAPH, Mike Patton (USA, 1995); source: Mike Patton, ADULT THEMES for Voice (New York, Tzadik, 1996), transcribed by jwcurry (2oo7). a solo construction for voice & tape recorder, the transcription (& reading) attempts to semireplicate the extreme edits, abruptions & machine stresses of the collage original. solo
22. auf dem land, ernst jandl (Austria, 1968?); source: konkrete poesie deutschsprachige autoren, ed.eugen gomringer (reprint? Stuttgart, Philipp Reclam, 198o). an "utter zoo" octupletted & here arranged as simultaneous nouns'n'sounds. readers: curry, Larwill
23. sounds' favorite words, Paul Haines (Canada, 1986), as quoted in full in an extract from Haines' Jubilee; source: Paul Haines, Secret Carnival Workers (Toronto? H Pal Productions, 2oo7), with reference to Michel Contat's reading on Haines' DARN IT! (USA, American Clavé, 1994). hijacked as an interdiction of manysorts. Jubilee ends "Unrelatedly, there was a recital of whisk the morning of 17 July after a night the cats had raised hell on the front lawn, a group of robins fallen by the side of the hedge as though meeting on a street corner and – now headless to prove it – plumb run out of things to say, but still prettier representations of events than the sparrows the exact size of erasers stacked up with the heads on. // Which of course are words apart." solo
24. The Tibetan Memory Trick, traditional/arranged by Howard Kaylan, Ian Underwood & Mark Volman (USA, 1974); source: Flo & Eddie, ILLEGAL, IMMORAL AND FATTENING (Canadian pressing, Columbia Records Limited, 1975). everyone in the band gets put through this one for articulational, breathing & body memory development. spontaneously inserted between the 2 parts of 23 above. full quartet
25. THREE/FOUR: OF TIME, bp Nichol (Canada, 1985); source: 5e echanges internationaux de poesie contemporaine, ed.Julien Blaine (Tarascon, France, L'A.G.R.I.P.P.A., 1988). the 3rd in Nichol's TIME series "for the 4 Horsemen", this one targetting the structure of the waltz for vigorous interrogation. full quartet
26. IT CAN'T HAPPEN HERE, Frank Zappa (USA, 1964); source: Mothers Of Invention, FREAK OUT! (USA, Verve Records, 1965), transcribed & arranged by jwcurry (2oo7). a somewhat remented barberchopping routine that only seems to leave metre & tonality behind, part 2 of Help, I'm A Rock, featuring Georgia Mathewson as Suzy Creamcheese ("Suzy you were such a sweetie"). full quartet
27. BALLADS OF THE RESTLESS ARE, bpNichol (Canada, 1967?); source: monograph (2nd ed, Ottawa, Curvd H&z, 2oo6). "two versions/common source" of elemental theme & variations presented as comparative simultaneity in a "quartet for 2 voices". readers: curry, Larwill
28. Salmon River Soliloquy, David UU (Canada, 1973); source: David UU, High C (Toronto, Underwhich Editions, 1991). a rather straightforward poem siding with the fishes. solo
29. MUSHY PEAS, Steve McCaffery & bpNichol (England, 1978); source: Steve McCaffery & bpNichol, IN ENGLAND NOW THAT SPRING (Toronto, Aya Press, 1979). 6 pages of drawn optophonetics as visual ground for improvisation, tonight's take a "no-net" event. readers: curry, Larwill
3o. Sweet suite suet, ernst jandl (Austria, 197o?); source: STEREO HEADPHONES ⌗4 (ed.Nicholas Zurbrugg, Kersey, UK, 1971). the syllables of jandl's lyric poem trip in & out of step with receptibility, accruing a kind of polysemantic reality just this side of the pataphysical. solo
31. Oiesautal / Super-Bird-Song, Raoul Hausmann (France, 1918?) & Kurt Schwitters (England, 1946?), respectively; source: Raoul Hasmann & Kurt Schwitters, PIN and the story of PIN (London, UK, Gaberbocchus Press, 1962). brought together by the 1st world war & separated by the 2nd, both friends independently came to write short works based on birdsound. this interlineated arrangement by curry (2oo9?) is a step toward A Visit to the Aviary, a short suite of related material from various sources. readers: curry, Pirie
32. GLASS ON THE BAECH, Richard Truhlar (Canada, 1978?); source: Owen Sound, Beyond The Range (Toronto, Underwhich Editions, 198o), transcribed by curry from a trio (Michael Dean, Steven Smith, Richard Truhlar) recording at The Music Gallery in Toronto, 18 august 1979, with additional parts adapted from 2 manuscript scores courtesy of Truhlar. extended vocal waveforms with buried shards. full quintet with Gary Barwin
__________________________________________________
front cover: bpNichol, BALLADS OF THE RESTLESS ARE
rear cover: ernst jandl, auf dem land
with thanks to Gregory Betts, Jenny Kimmerly &, above all, the band
__________________________________________________
see also:
announcement by Natasha Pedros
photographs by Pearl Pirie:
Title: Woman working on an airplane motor at North American Aviation, Inc., plant in Calif.
Creator(s): Palmer, Alfred T., photographer
Date Created/Published: 1942 June
Medium: 1 transparency : color.
Reproduction Number: LC-DIG-fsac-1a35287 (digital file from original transparency) LC-USW361-142 (color film copy slide)
Rights Advisory: No known restrictions on publication.
Call Number: LC-USW36-142 [P&P]
Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA hdl.loc.gov/loc.pnp/pp.print
Notes:
Transfer from U.S. Office of War Information, 1944.
General information about the FSA/OWI Color Photographs is available at hdl.loc.gov/loc.pnp/pp.fsac
Title from FSA or OWI agency caption.
Additional information about this photograph might be available through the Flickr Commons project at www.flickr.com/photos/library_of_congress/2179069381
Subjects:
North American Aviation, Inc.
airplane industry
assembly-line methods
World War, 1939-1945
Women--Employment
United States--California--Inglewood
Format:
Transparencies--Color
Collections:
Farm Security Administration/Office of War Information Color Photographs
Part of: Farm Security Administration - Office of War Information Collection 12002-38
Bookmark This Record:
www.loc.gov/pictures/item/fsa1992001164/PP/
View the MARC Record for this item.
Rights assessment is your responsibility.
Photo Credit: Library of Congress, LC-DIG-fsac-1a35287
August 1964 American Motors press photo of new 1965 Rambler Ambassador on the Kenosha assembly line at the Lakefront Assembly and Stamping Plant. The incomplete car shells would then be trucked across town to the Main Kenosha Assembly Plant for final assembly and delivery. The Lakefront Plant was closed in 1988 and demolished for the new Harborpark development, with a PCC streetcar shuttle in the revitalized area. Most of the main plant was also demolished, though Chrysler continued to build engines at a portion of the facility until October 2010 and then demolished in 2013.
“A “full house” replaced “three-of-a-kind” at the National Aeronautics and Space Administration’s Michoud Operations this week, as a second Saturn I space vehicle first stage was returned after static firing tests at the Marshall Space Flight Center, Huntsville, Ala. Lined up (left-to-right) in assembly and checkout positions are two Saturn IB flight boosters, A Saturn IB dynamic test stage and two Saturn I first stages. The 1.5-million-pound-thrust Saturn I boosters will be used in the early phases of the Apollo manned lunar landing program as well as to orbit meteoroid technology satellites. The more powerful – 1.6-million-pound-thrust – Saturn IB first stages will launch Apollo spacecraft into earth orbit for astronaut training and spacecraft test preliminary to actual manned landings on the moon. Both the Saturn I and Saturn IB are two-stage launch vehicles. The 21-foot-diameter, 80-foot-tall first stages are being assembled at Michoud by the Chrysler Corporation Space Division.”
SA-8 first stage is on the far right.
According to this:
history.nasa.gov/MHR-5/Images/fig200.jpg
From left to right, it's: S-IB-2, S-IB-1, S-IB-D/F, and S-I-...IDK...since the online image is cutoff at this point). But hey, identification of 4 out of 5 ain't bad.
7.75" x 9.5"
PACIFIC OCEAN (Oct. 9, 2016) Petty Officer Second Class Steven Arndt on board littoral combat ship USS Coronado (LCS 4) sends signals to USNS Richard E. Byrd (TAK-E 4) during a replenishment-at-sea. Currently on a rotational deployment in support of the Asia-Pacific Rebalance, Coronado is a fast and agile warship tailor-made to patrol the regionâs littorals and work hull-to-hull with partner navies, providing 7th Fleet with the flexible capabilities it needs now and in the future. (U.S. Navy photo by Petty Officer Second Class Michaela Garrison/Released)
In case you don't get enough of the live assembly line, they also show the same process on large tv screens on the walls. I'm not sure why; it seems a little redundant.
Piction ID: 83163468 Filename: perma_002747.tif Title: Convair F-106--Perman Collection Image--Please tag these photos so information can be recorded.---Note: This material may be protected by Copyright Law (Title 17 U.S.C.)--Repository: San Diego Air and Space Museum
Downtown Flint MI, on Tuesday, October 4, 2016 U.S. Department of Agriculture (USDA) Food and Nutrition Service (FNS) Disaster Household Distribution Program (DHHDP) activities by Genesee County Community Action Resource Department (GCCARD), are helping those in need. USDA Foods are being packaged and delivered to 17,000 households eligible for The Emergency Food Assistance Program (TEFAP) in the Flint area to help address the ongoing water crisis. DHHDP packages are prepositioned in shopping carts in the onsite distribution area that includes receptionists, commodity shelves, assistants, and checkout counters. The DHHDP consists of an additional 14-pound nutrient-targeted food package, containing foods rich in calcium, iron, and Vitamin C â which are believed to help limit the absorption of lead in the body. This number of boxes will be distributed each month for four months. The food is in addition to the regular allotment that TEFAP recipients currently receive. The packing line team included Michigan government employees volunteering their personal time produced hundreds of Commodity Supplemental Food Program (CSFP) and TEFAP packages. CSFP works to improve the health of low- income elderly persons at least 60 years of age by supplementing their diets with nutritious USDA Foods. USDA photo by Lance Cheung.
For more information about USDA -- www.usda.gov
For more information about FNS -- www.fns.usda.gov
For more information about Disaster Nutrition Assistance Programs, including DHHDP -- www.fns.usda.gov/sites/default/files/disaster/Disaster-Br...
For more information about CSFP -- www.fns.usda.gov/csfp/commodity-supplemental-food-program...
For more information about TEFAP -- www.fns.usda.gov/tefap/emergency-food-assistance-program-...
@USDA
Pennsylvania
VACUUM CUP
TIRES
FOR those emergencies which must be anticipated in motoring, there is opportunity for sound strategy in choosing reserve tire equipment.
Once selected as "spares," Vacuum Cup Tires become regular equipment as a matter of course.
The tread of massive Vacuum Cups is the only tread guaranteed not to skid on oil-treacherous, water-wet pavements.
In the matter of economy, Vacuum Cup Tires are sold at approximately the same price as ordinary 3,500 mile tires, and at much less than any other make carrying equal mileage surety.
They also offer a definite certainty of greater mileage. Vacuum Cup Tires usually roll up a generous excess over what they are guaranteed for -- per warranty tag --
6,000 Miles
Makers of Auto Tube "Ton Tested"
PENNSYLVANIA RUBBER COMPANY
Jeannette, Pa.
Direct Factory Branches and Service Agencies
Throughout the United States and Canada
Member Jeannette War Service Union
This is exactly what society will do to you.
"Kids today they got nothing to say, they got nothing to say because they taught them that way, they want to watch them grow old and put them in their grave till they're gone.
Teachers today they got nothing to say, they got nothing to say because they taught them that way, they only do what they're told so they can get their pay and go home."- Anton Newcombe
I took these 11 Photographs of the Machinery used in Bottling Coca Cola at the World of Coca Museum, in Atlanta, Georgia.
Pharmacist John Stith Pemberton invented Coca Cola in 1886. The Coca Cola Museum fronts on a small park near the Hilton Garden Inn Hotel where we stayed during our visit to Atlanta. The World of Coca Cola Museum is located at 121 Baker Street NW, Atlanta, GA 30313.
In June 2018, my wife & I attended a Family Wedding at the Hilton Garden Inn, 275 Baker Street in Atlanta, Georgia. One end the hallway on the on the 13 Floor (they call it Floor PH) gave me a Great View of the CSX Tracks, while the other end of the hallway gave me a great view of the Skyview Ferris Wheel across the street from Centennial Olympic Park.
Since we were in Atlanta for several days, I had some time to visit the Coca Cola Museum, which was a short 2 blocks away from our Hotel.
Downtown Flint MI, on Tuesday, October 4, 2016 U.S. Department of Agriculture (USDA) Food and Nutrition Service (FNS) Disaster Household Distribution Program (DHHDP) activities by Genesee County Community Action Resource Department (GCCARD), are helping those in need. USDA Foods are being packaged and delivered to 17,000 households eligible for The Emergency Food Assistance Program (TEFAP) in the Flint area to help address the ongoing water crisis. DHHDP packages are prepositioned in shopping carts in the onsite distribution area that includes receptionists, commodity shelves, assistants, and checkout counters. The DHHDP consists of an additional 14-pound nutrient-targeted food package, containing foods rich in calcium, iron, and Vitamin C â which are believed to help limit the absorption of lead in the body. This number of boxes will be distributed each month for four months. The food is in addition to the regular allotment that TEFAP recipients currently receive. The packing line team included Michigan government employees volunteering their personal time produced hundreds of Commodity Supplemental Food Program (CSFP) and TEFAP packages. CSFP works to improve the health of low- income elderly persons at least 60 years of age by supplementing their diets with nutritious USDA Foods. USDA photo by Lance Cheung.
For more information about USDA -- www.usda.gov
For more information about FNS -- www.fns.usda.gov
For more information about Disaster Nutrition Assistance Programs, including DHHDP -- www.fns.usda.gov/sites/default/files/disaster/Disaster-Br...
For more information about CSFP -- www.fns.usda.gov/csfp/commodity-supplemental-food-program...
For more information about TEFAP -- www.fns.usda.gov/tefap/emergency-food-assistance-program-...
@USDA
The Genesee river on Tuesday, October 4, 2016. U.S. Department of Agriculture (USDA) Food and Nutrition Service (FNS) Disaster Household Distribution Program (DHHDP) activities by Genesee County Community Action Resource Department (GCCARD), are helping those in need. USDA Foods are being packaged and delivered to 17,000 households eligible for The Emergency Food Assistance Program (TEFAP) in the Flint area to help address the ongoing water crisis. DHHDP packages are prepositioned in shopping carts in the onsite distribution area that includes receptionists, commodity shelves, assistants, and checkout counters. The DHHDP consists of an additional 14-pound nutrient-targeted food package, containing foods rich in calcium, iron, and Vitamin C â which are believed to help limit the absorption of lead in the body. This number of boxes will be distributed each month for four months. The food is in addition to the regular allotment that TEFAP recipients currently receive. The packing line team included Michigan government employees volunteering their personal time produced hundreds of Commodity Supplemental Food Program (CSFP) and TEFAP packages. CSFP works to improve the health of low- income elderly persons at least 60 years of age by supplementing their diets with nutritious USDA Foods. USDA photo by Lance Cheung.
For more information about USDA -- www.usda.gov
For more information about FNS -- www.fns.usda.gov
For more information about Disaster Nutrition Assistance Programs, including DHHDP -- www.fns.usda.gov/sites/default/files/disaster/Disaster-Br...
For more information about CSFP -- www.fns.usda.gov/csfp/commodity-supplemental-food-program...
For more information about TEFAP -- www.fns.usda.gov/tefap/emergency-food-assistance-program-...
@USDA