Sister Gertrude Morgan “Let Us Make a Record”
Thanks for turning me onto this, Mike!
"Where are we situated in the struggle to make language perform?"
From Cy Twombly’s Natural History Part II, 1975-1976.
"Hauke’s language is consistently stunning in both his word choice and in his timing to deliver what he will tell and what he will remove. In the Marble of Your Animal Eyes delivers not only a breathtaking poem but also intrigues the reader with the making of itself. It takes on the idea of the archaic pastoral in the age of post-language poetry, and it seamlessly welds the concept of beauty captured in the line with the relentless pursuit for that elusive creature. ‘Trust the smudge that allows one to tear/ through into another,’ Hauke tells us. The poet smudges the page and we wander with them: trust.”
I am so grateful to Megan Burns this incredibly sharp and expansive review of IN THE MARBLE OF YOUR ANIMAL EYES (Publication Studio, 2013) in the new H_NGM_N.
Stunned by and incredibly grateful for the care and sprawling precision of Jen Tynes’ riffs on the opening lines of IN THE MARBLE OF YOUR ANIMAL EYES (Publication Studio, 2013) at Lost Roads: “The speed of thinking sometimes gets out of step with the speed of movement or action, so some leap-frog happens: a speaker ends up in constant displacement or uncanniness. Walking through a doorway only sort of purges our event models: we remember enough to know we missed something, that once we were on a slightly different side of the room.” Thanks, Jen!
Bartholomaus Traubeck’s custom-built record player designed to render cross-sectional slices of tree trunks for his art piece “Years.”
It takes in data using a PlayStation Eye camera and a stepper motor attached to its control arm, and relays the data to a computer. A program called Ableton Live then uses it to generate a piano track.
Tim Hecker’s “Amps, Drugs, Harmonium”
from Virgins (Kranky and Paper Bag Records 2013)