Sunday, March 26, 2006

some more dada notes

saw/heard ballet mécanique from a loftier perch this time and the impact is significantly diminished. still a great piece tho.

towards a collaborative research/poetics project

nodal points
  • anarchopacificm
  • chance
  • cage - mac low
  • plastics - explosives/prosthetics
  • taxonomy of collage
  • history of dada publications
  • schematics - ernst to braxton
  • hybrid bodies and machines
  • "This world of systems has gone to pieces" (Ball critiques Hegel)
  • untranslated writings (Picabia et al.)
  • the archives

aesthetic styles (emergent and residual)
  • "abstraction"
  • cubism (& cubo-futurism)
  • expressionism
  • impressionism / pointilism
  • "collage"

between pure abstraction and pure mimeticism
curvilinear abstraction (arp and taeuber: 17-26)
arp's move from geometrical to organic abstraction

           the beginning drop sifts a genesis

richter's fugue --> geometrical abstraction as schematic --> graphic notation --> anthony braxton's composition titles

factor also into such a history: picabia's joke schematics, ernst's use of schematics including quasi-organics (189) -- and bargeld 207-210 -- on the way to tanguey

between geometrical and organic abstraction: schadographs (60-65), schwitters lithos

           using existence a preferred fabric / jagged searching discovery assault

           assumed ineffectual measurable weights

cubism
  • janco (16)
  • segal (42) - cubofuturist
  • schwitters (187)

expressionism
  • richter (40-41)

               an adjacent retreat into self-hipnosis / primitive masklike identity

  • grosz (66)

impressionism/pointilism - taeuber's untitleds

berlin room

           dangles unflattening / allowed the hours / a text marching
           & / claimed the work


why do i still not know schlichter and dix?

grosz 72 - a vietnam of society (misread)
hausmann 96 - dylan's mr. jones

höch and hausmann have primacy of place in any taxonomy of collage

man ray aerographs (287-290) flirting with the geometrical-organic abstraction continuum

crotti --> schematic-like organic machines

Friday, March 24, 2006

permanent military bases in iraq

A Bibliography

[with relevant excerpts, listed in reverse chronological order, and encouraged again by today's LA Times article that heads up the list]

Peter Spiegel, "Bush's Requests for Iraqi Base Funding Make Some Wary of Extended Stay," Los Angeles Times, March 24, 2006, Page A1. "Even as military planners look to withdraw significant numbers of American troops from Iraq in the coming year, the Bush administration continues to request hundreds of millions of dollars for large bases there, raising concerns over whether they are intended as permanent sites for U.S. forces." [Goes on to reviews the emergency funding request passed by the house last week along with similar past funding, the military's "responses," congressional concerns.]

Joshua Hammer, "Diggin In," Mother Jones, March/April 2006. "If the U.S. government doesn't plan to occupy Iraq for any longer than necessary, why is it spending billions of dollars to build "enduring" bases?" [A very thorough piece.]

William Arkin, "U.S. Plans New Bases in the Middle East," Early Warning [blog], March 22, 2006. "The U.S. military has developed a ten-year plan for 'deep storage' of munitions and equipment in at least six countries in the Middle East and Central Asia to prepare for regional war contingencies. The plans, revealed in March 2006 contracting documents, call for the continued storage of everything from packaged meals ready to eat (MREs) to missiles in Bahrain, Kuwait, Qatar, and Oman, as well as the establishment of two new storage hubs, one in a classified Middle Eastern country 'west' of Saudi Arabia ("Site 23") and the other in a yet to be decided 'central Asian state.'"

Tom Engelhardt, "Leaving a Permanent Mark on Iraq," Alternet, February 17, 2006. "No matter how much the military hems and haws about withdrawing from Iraq, the bases we're installing tell the real story."

Gary Hart, "End this evasion on permanent army bases in Iraq," Financial Times, January 4, 2006, page 17. "It has been the dream of Republican neoconservatives at least since 1998 - and probably years before - to overthrow Saddam Hussein and to use the new client state of Iraq as the US's military and political base from which to pacify the complex and troubled Middle East. Leaving aside the plausibility of this notion, it is not one with which the great American leaders of history would have identified and certainly not one they would have attempted to carry out in secret. Having failed in this enterprise, as some of us predicted, the question is: what now? There is still the possibility that a central remnant of this secret scheme may yet be salvaged. Surprisingly, the trick has drawn little attention from the American audience. It is to help install at least the semblance of a "democratic" government in Baghdad, even one that in author Fareed Zakaria's perceptive term is an illiberal democracy; to construct permanent US military bases at strategic points throughout the country and then persuade the new "democratic" government to invite us to stay."

Rep. Barbara Lee (D-Calif.), "Permanent Occupation," In These Times, October 24, 2005, page 13. "No one disputes that the military bases are of a physically permanent character. The only question is whether Iraq will be under permanent U.S. military occupation."

Sam Graham-Felsen, "Operation: Enduring Presence," AlterNet, Posted July 28, 2005. "The issue of permanent bases cuts to the heart of not only how long we intend to stay in Iraq, but why we got there in the first place."

Michael Howard, "US military to build four giant new bases in Iraq," The Guardian, May 23, 2005, Page 2. "US military commanders are planning to pull back their troops from Iraq's towns and cities and redeploy them in four giant bases, in a strategy which they claim is a prelude to eventual withdrawal. The plan, details of which emerged at the weekend, also foresees a transfer to Iraqi command of more than 100 bases that have been occupied by US-led multinational forces since the invasion of Iraq in March 2003. However, the decision to invest in the bases, which will require the construction of more permanent structures such as blast-proof barracks and offices, is seen by some as a sign the US expects to keep a permanent presence in Iraq."

Bradley Graham, "Commanders Plan Eventual Consolidation of U.S. Bases in Iraq," The Washington Post, May 22, 2005, page A27. "U.S. military commanders have prepared plans to consolidate American troops in Iraq into four large air bases as they look ahead to giving up more than 100 other bases now occupied by international forces, officers said. Several officers involved in drafting the consolidation plan said it entailed the construction of longer-lasting facilities at the sites, including barracks and office structures made of concrete block instead of the metal trailers and tin-sheathed buildings that have become the norm at bigger U.S. bases in Iraq. The new, sturdier buildings will give the bases a more permanent character, the officers acknowledged. But they said the consolidation plan was not meant to establish a permanent U.S. military presence in Iraq."

David R. Francis, "US Bases in Iraq: Sticky Politics, Hard Math," Christian Science Monitor, September 30, 2004, page 17. "If a new Iraq government should agree to let American forces stay on, how many bases will the US request? One, as the United States Army currently maintains in Honduras? Six, the number of installations it lists in the Netherlands. Or maybe 12? The Pentagon isn't saying. But a dozen is the number of so-called 'enduring bases' located by John Pike, director of GlobalSecurities.org. His military affairs website gives their names. They include, for example, Camp Victory at the Baghdad airfield and Camp Renegade in Kirkuk. The Chicago Tribune last March said US engineers are constructing 14 'enduring bases,' but Mr. Pike hasn't located two of them."

Mindy Belz, "Operation Enduring Presence," World Magazine, April 24, 2004. "At his April 13 press conference, President Bush promised that in less than 10 weeks 'Iraqi sovereignty will be placed in Iraqi hands.' Many Americans assume that will mean bringing the boys home. Troop reductions, however, are far from the minds of military strategists and policymakers.
Pentagon planners have quietly named [Camp] Anaconda - along with 13 other posts in Iraq - 'enduring presence' bases. That means the Defense Department expects them to be in service for at least two more years, if not longer. Defense operators are fortifying and expanding those bases to house around 140,000 troops. According to a status report from the Center for Strategic and International Studies (CSIS) released late last month, the United States plans to keep in excess of 100,000 troops in Iraq 'through at least early 2006.'"

Jeff Taylor, "Empire State: America's "enduring bases" in Iraq," Reason, March 29, 2004. "The size of the near-term U.S. footprint in Iraq could vary depending on just how fast that new Iraqi government gets a handle on security, but the Pentagon is already making plans for any eventuality. Plans for as many as 14 possibly permanent, or in Pentagonese, 'enduring' bases are already in motion. Former Iraqi army bases in or around Baghdad, Mosul, Taji, Balad, Kirkuk, Nasiriyah, Tikrit, Fallujah, and Irbil will be upgraded by U.S. engineers to U.S. specs. Several factors are driving the plans for a large U.S. presence, not the least of which are geography and economics."

Christine Spolar, "14 'enduring bases' set in Iraq: Long-term military presence planned," Chicago Tribune March 23, 2004. "From the ashes of abandoned Iraqi army bases, U.S. military engineers are overseeing the building of an enhanced system of American bases designed to last for years. Last year, as troops poured over the Kuwait border to invade Iraq, the U.S. military set up at least 120 forward operating bases. Then came hundreds of expeditionary and temporary bases that were to last between six months and a year for tactical operations while providing soldiers with such comforts as e-mail and Internet access. Now U.S. engineers are focusing on constructing 14 'enduring bases,' long-term encampments for the thousands of American troops expected to serve in Iraq for at least two years. The bases also would be key outposts for Bush administration policy advisers."

Thomas Donnelly, "There's No Place Like Iraq... For U.S. military bases." The Weekly Standard, May 5, 2003. "With Rumsfeld himself pushing for an overdue review of America's posture and garrisoning around the world, with another round of base closures and realignments scheduled for 2005, and with the pressing need to rationalize the burdens on an overstretched force bearing global responsibilities, the idea of locating bases where troops are required might seem obvious....What is clear is the rationale behind a quasi-permanent American garrison in Iraq--with, say, a Guantanamo-style long-term lease....The sooner Rumsfeld fesses up and makes this issue a plain part of the public debate over post-Saddam Iraq the better."

Bradley Graham, "U.S. Won't Seek Bases in Iraq, Rumsfeld Says," The Washington Post, April 22, 2003, Page A11. "Defense Secretary Donald H. Rumsfeld said yesterday the United States is unlikely to seek any permanent or 'long-term' bases in Iraq because U.S. basing arrangements with other countries in the region are sufficient. While stressing that discussion of future U.S. military ties with Iraq is premature in the absence of a new Iraqi government, Rumsfeld appeared intent yesterday on knocking down the idea of an indefinite U.S. military presence in Iraq. A newspaper report over the weekend suggested that among the options the administration is considering is permanent U.S. access to several Iraqi airfields. 'I have never, that I can recall, heard the subject of a permanent base in Iraq discussed in any meeting,' Rumsfeld said at a Pentagon news conference. 'The likelihood of it seems to me to be so low that it does not surprise me that it's never been discussed in my presence -- to my knowledge.'"

Toby Harnden, "U.S. to keep up to 4 military bases in Iraq," Chicago Sun-Times, April 21, 2003, Page 20.
[ENTIRE TEXT] The United States is planning to establish up to four long-term military bases in Iraq. The proposal would transform America's ability to project its power in the Middle East. Future arrangements depend largely on who takes over as leader of Iraq. However, Baghdad airport, Tallil in southern Iraq, the H-1 airstrip in the west and Bashur airfield in Kurdistan are potential bases. "There will be some kind of a long-term defence relationship with a new Iraq, similar to Afghanistan," a senior Bush administration official said. 'The scope of that has yet to be defined - whether it will be 'full-up' operational bases, smaller forward operating bases or plain access." One reason senior officials in the Pentagon favour Ahmad Chalabi, of the exile group the Iraqi National Congress, as the new leader is that he would be pro-American and happy to facilitate US bases. Mr Chalabi told ABC television yesterday: "It is up to the Iraqi parliament and the Iraqi people to decide whether they will want a military association with the United States. But it is my view that a strategic alliance between Iraq and the United States is a good thing for both." The plan for bases does not mean that American troops would remain indefinitely. The bases would be used primarily to help with reconstructing Iraq. But their proximity to Syria and Iran could allow the US to apply added pressure on those countries. With US troops also in Afghanistan, Iran is now almost surrounded by American forces. A senior official said US bases in Iraq would "make Syria and Iran nervous". The bases would also let America scale back its presence in Saudi Arabia and Turkey. Colin Powell, secretary of state, said last week: "We have been successful in Iraq. There is a new dynamic in that part of the world." Permanent Iraqi bases would be just one element of change in America's strategic posture since the September 11 attacks. Most of America's troops in Germany are likely to be withdrawn in favour of "lilypad" bases to be used as short-notice stopping-off points.

Donald Macintyre, "US Wants Permanent Access to Military Bases in Post-War Iraq," The Independent, April 21, 2003, Page 1. "The United States plans to use Iraq to maintain a long-term strategic foothold in the Middle East that would include the right to use four of the country's military bases, Bush administration officials said. George Bush moved to reduce tension with Syria yesterday, saying Damascus was 'getting the message' that it should help to facilitate the capture of leading members of the ousted Iraqi regime. But the plan surfacing in Washington for a 'defence relationship' with Iraq goes well beyond the short-term to medium-term demands for security and stabilisation. Such a move would help America to underpin its political, diplomatic and economic pressure on Syria and Iran. US military officials quoted by The New York Times identified the four bases - including one at Baghdad international airport - as those that have been progressively occupied by US forces in the war. They are currently being used to supply and reinforce operations against remnants of the Saddam regime, for reconnaissance patrols and for supplies of humanitarian aid. In the longer term, the bases would remain accessible to US warplanes and military transport aircraft. American officials, sensitive to the neuralgic impact on much of the Arab world, stress that Washington will only seek 'access' to the airfields rather than permanent 'basing'. Administration officials were quick to echo assertions by Colin Powell, the Secretary of State, that Washington had "no war plan right now" for Syria and Iran. The putative access to the bases, as well as US presence in Afghanistan, would come close to surrounding Iran with a ring of American influence."

Robert D. McFadden, "U.S. Access to Iraqi Bases, Signs of Life in Baghdad and Rumsfeld on the Rise," The New York Times, April 20, 2003, page B1. "As American forces withdraw in the months ahead, the Bush administration plans a military relationship with the new government in Baghdad that would give the Pentagon permanent access to four air bases in Iraq. These would serve as a foothold to project American influence into the heart of the unsettled Middle East. The scope of the partnership and access is not yet defined. But coupled with the American military presence in Afghanistan, the bases in Iraq would be felt in Syria and would flank Iran on both sides. Ultimately the bases could become one of the most striking strategic developments of the war, adding even greater power to a swath of influence reaching from Western Europe to the Far East."

Thursday, March 23, 2006

belated quotes on the war

Some of you have heard or read these before (via email or in my intro at the DCAC reading on sunday) but I put these up to belatedly mark the beginning of a fourth year (of course it's been much loner than that) of this nation's military involvement in Iraq.

As matters stand now, it appears unlikely that Iraqi resistance will collapse. The United States seems unable to muster the military force to crush this resistance and to guarantee the dominance of government and social institutions that we have determined to be appropriate. There is, therefore, some hope that American troops will be withdrawn and the Iraqis left to try to reconstruct something from the wreckage. The course of history may be determined, to a very significant degree, by what the people of the United States will have learned from this catastrophe.[...]

Someday the war in Iraq will end, and with it the renewed impulse it has given to self-analysis and the search for cures and alternatives. Those who were opposed to the war merely because of its costs or its atrocities will fall away. It is possible that an American defeat that cannot be disguised, or a "victory" that opens the way to new savagery, will be accompanied by a serious domestic repression that will leave little energy or will for the task of re-evaluation and reconstruction of ideology and social life. But there are also encouraging signs. There is a growing realization that it is an illusion to believe that all will be well if only today's liberal hero can be placed in the White House, and a growing awareness that isolated, competing individuals can rarely confront repressive institutions alone. At best, a few may be tolerated as intellectual gadflies. The mass, even under formal democracy, will accept "the values that have been inculcated, often accidentally and often deliberately by vested interests," values that have the status of "unconsciously acquired habits rather than choices." In a fragmented, competitive society, individuals can neither discover their true interests nor act to defend them, as they cannot do so when prevented from free association by totalitarian controls.


These are passages from Noam Chomsky's American Power and the New Mandarins (1967), only I have substituted "Iraq" and "Iraqi/s" where he has written "Vietnam" and "Vietnamese."

The second passage quotes The Sociological Imagination (1959) by C. Wright Mills, whose Power, Politics and People: Collected Essays I just picked up for $2.50 at Second Story Books yesterday. Mills was something of a renegade sociologist and liberal critic of the postwar politics of the liberal consensus. His ideas are often said to have inspired the SDS and the New Left, but I'm quite certain that the neocons learned a few lessons from him as well.

Hope to have more to say about him in the future, but so far I can offer a few things. His 1952 essay "Liberal Values in the Modern World" reiterates, among other things, something I've believed for a while, namely that part of liberalism's current difficulties are essentially that it has won the day rhetorically: conservatives in this country speak of rights, equality, etc even though these things are in fact subordinate to core conservative values of authority, social hierarchy, etc.

Mills severely underestimated conservatives though in an essay (PDF 900K; this is from a chapter by the same name in CWM's subsequent book The Power Elite) called "The Conservative Mood" (1955), on some level a review of Russell Kirk's The Conservative Mind. Mills belittles conservatives much in the manner of Lionel Trilling who in The Liberal Imagination (1950) claimed that there were "no conservative or reactionary ideas in general circulation" and that whatever impulse there was to such things "express[ed] themselves [as] iritiable mental gestures which seek to resemble ideas." (Likewise Richard Hofstader did in 1964, the year of the Goldwater "defeat," when he referred to conservatism as the "paranoid style" of American politics.) I mean, Trilling and Mills were essentially correct at the time. Mills is right that Kirk has no American conservative tradition because there is no constituency (or voting block) for who such a tradition would appeal. Conservatives in the 1950s knew this and so thus created a constituency (eventually to be called the "Southern Strategy").

I'd be curious to have folks read the PDF from Michael Webber's USF website and comment.

Tuesday, March 21, 2006

vision festival XI

the schedule for this year's vision festival has been announced (NYC june 13-18) and pasted in below. highlights include:
  • sam rivers trio and big bands
  • grachan moncur III trio
  • henry grimes trio (w/ joe mcphee and rashied ali)
  • roscoe mitchell quartet
  • george lewis solo
  • by any means (charles gayle, william parker, rashied ali)
  • david s. ware quartet "Final US Performance"

if you miss nothing else do NOT miss the final u.s. performance of the david s. ware quartet as he will raise the upper partials to the heavens and blow your little ego soul clear out of your body. i know i've used that metaphor before but this time i mean it quite literally. (in the meantime i will try to find out why it's the group's final u.s. performance, if they're disbanding or simply moving or what...)

antheil, pound etc.

jessica's right, there is a recording of the ballet mécanique on the budget-priced naxos label (god bless 'em, ever an indication that price is no guarantee of quality. for a budget label a lot of the their catalog blows the full-priced labels away.) for some reason i've never felt compelled to buy a recording of this piece tho, i dunno why. perhaps a misconception that the work, like that of e.e. cummings, was gimmicky or something.

i'm curious too about antheil's treatise on harmony and ezra pound's book on same. what i'm reading on pound lately suggests that antheil was something of a flash in the pan, that he never fully lived up to his early promise. (tho he did write some violin sonatas for pound's lover olga rudge.) which is another way of saying again he was ahead of his time. tom raworth said he'd recently read somewhere online that some guy at MIT only just figured out how to rig the 16 baby grands and all the other instruments up to play together electronically a few years ago. (hopefully tom'll send me the link!)

i'm kinda surprised more composers have not explored this further. actually it's no surprise given what sure must be the exorbitant cost. i'd love to have been the person at the NGA who called up some piano dealer and said "hello, i'd like to rent 16 baby grand pianos for a month." seriously tho, imagine what steve reich could do with that. or someone like ben johnston who works in just intonation or microtunings!

further pound squad update: as i emailed ben last week, the finding aid for the beinecke library's pound collection lists 492 folders with radio speeches. this does not mean 492 discrete speeches as some are undoubtedly duplicates. there's also a folder titled "300 radiodiscorzi" (sounds so much better in italian), possibly a table of contents for an italian edition that pound wanted to publish. in any case, the 105 speeches doob printed in ezra pound speaking are likely only 1/3 or less of the total extant radio speeches.

Monday, March 20, 2006

ballet mecanique


tom raworth and mel and i got to hear the automated performance of george antheil's Ballet mécanique (a 10-minute excerpt of the 27-minute whole) sunday. it runs at 1 & 4pm weekdays and weekends at 1pm through the end of the month.

a must-hear, this a joyous din of cacophany. i mean, 16 baby grands all firing off at once, along with assorted tuned and untuned percussives, air raid sirens, etc.? totally ahead of its time, looking toward everyone from varèse and stockhausen to cecil taylor...

Friday, March 17, 2006

Tuesday, March 14, 2006

"Literature is the attempt to interpret, in an ingenious way, the myths we no longer understand, at the moment we no longer understand them, since we no longer know how to dream them or reproduce them. Literature is the competition of misinterpretations that consciousness naturally and necessarily produces on themes of the unconscious, and like every competition it has its prizes." -- Gilles Deleuze, "Causes et raisons des îles désertes" [unpublished text from the early 1950s, translated by Michael Taorima in Desert Islands and Other Texts 1953-1974]

Saturday, March 11, 2006

the pound squad in action

ben's photos of the pound squad in action, as well as the whole set from his recent DC trip...

Friday, March 10, 2006

werckmeister harmonies


a rural hungarian town is paid a visit by a circus that boasts of a whale and a prince. janos holds great promise in this event, even attempting to reunite his aunt (played by hanna schygulla, famous from fassbinder's company) and uncle, who seem to hold some place of prominence among the townspeople, in response to it. the townsfolk, however, feel differently. thus the premise, as i could glean it, of bela tarr's werckmeister harmonies (2000, just out on DVD a coupla weeks ago), easily the most captivating film i've seen since me and you and everyone we know. it's not so much a film as a composition in image, sound and text.

i've seen a few of tarr's earlier films from the 1980s, whose DVD reissues from this past summer boast blurbs by jarmusch and namedrop cassavetes (which alone is enough to pique my interest). the outsider (1981), for example, is an intriguing social realist character study of the bohemian poor. (it features one scene in which a couple fight while the guy is at a DJ-ing job, and listening to them fight over the bad loud eurodisco ranks up there with the traffic scene is godard's weekend as one of the most difficult to endure aurally.) i don't know anything about his films between then and now, except that damnation (1988) and satan's tango (1994) seem to be pretty highly acclaimed.

werckmeister harmonies feels to me like jarmusch meets herzog -- long b&w takes a la stranger than paradise that create a dreamy irrational storyscape a la heart of glass. it strikes me that the whale and the prince ("hercog" in hungarian) here have a symbolic function similar to that of herzog's "ruby glass." it also has the feel of a morality play, and so maybe it's not really jarmusch (since there's nothing immediately funny about werckmeister harmonies) but bergman's the seventh seal that makes the better parallel. certainly the stunning b&w camerawork is reminscent of gunnar fischer's work.

i wish i could say more of what the film's "about" but on some level -- and perhaps after a few guinesses pub drafts plus the occasionally illegible white subtitles (why don't they use yellow?) were contributing factors -- this was very secondary in my enjoyment of the film. read plot summaries from amazon and IMDB if you want, and there are good reviews here and here by fred camper, who's done excellent work on brakhage. (a meta-review page can be found here. and i may read up some more on tarr's films -- american critic jonathan rosenbaum's refers to tarr's work as "despiritualized Tarkovsky." but my advice: rent it, kick back with a bit of your preferred intoxicant and enjoy all 145 minutes!

[NB: andreas werckmeister (1645-1706) coined the term well-tempered in reference to the system of tuning that regularizes 12 half-steps to each octave at the expense of mathematically pure intervals, the system that has dominated western music since at least bach. the uncle character in the film laments this domination but ultimately capitulates to it and the political repression by the film's end -- a curious parallel to say the least.]

Tuesday, March 07, 2006

the pound squad

More or Less at WorkSwaying to the Trochee's HeaveScanning Recordings for Audible Speech
yesterday i joined ben friedlander (who is in town on his sabbatical from the university of maine and who also read at bridge street sunday night with tim davis) at the national archives II in college park to do work on the recordings of ezra pound's radio speeches from the 1940s. (UPDATE: photos here)

Ezra Poundpound was an expatriate american poet living in italy 1924-1945 and a frequent guest on rome radio's broadcasts intended for anglophone listeners. pound used these broadcasts as an opportunity to denounce yankee imperialist capitalism and preach his own gospel of fascism and jewish conspiracy theory (with all of its requisite racial slurs) to anyone who might be listening. the foreign broadcast information service (FBIS, now under the CIA) began monitoring and recording these broadcasts which, once the US entered WWII following the bombing of pearl harbor, were considered treasonous. after the allies declared victory in europe, pound was apprehended and held in a containment cage in pisa, then brought back to the states to stand trial for treason. he ended up pleading insanity and spending the next 13 years in saint elizabeth's hospital here in southeast DC.

in 1978 yale psychology professor leonard doob published an edition of pound's radio speeches, using pound's own typescripts still residing at yale's beinecke library. he claims in his introduction that his book reproduces all known extant speeches, but ben discovered yesterday that there are roughly two dozen recordings of speeches not unaccounted for by doob. so this is at the very least one reason for undertaking this work, namely to add to the record and make it as complete as possible.

the recordings themselves are also of inherent interest, and ben hopes to do some kind of audio edition of these recordings. the pound tapes are held in record group 262, "Records of the Foreign Broadcast Intelligence Service, 1940-1947." the recordings were originally made on memovox discs. now a brand of obscenely expensive wristwatch, memovox refers to a kind of recording technology

a warped memovox discmanufactured and used for intelligence gathering during World War II and through the early 1950's. The machines were probably conceived for dictation, but their ability to record up to sixty minutes made them well- suited in their day for monitoring lengthy broadcasts from around the world.

The essential technology of a Memovox is stylus-and-groove, and is thus similar to Thomas Edison's original dictating machine. A signal, generated by a microphone, was amplified and used to drive a stylus that cut analogous grooves into a sixteen-inch acetate disc. However, Memovox incorporated a lead screw that kept the disc rotating at a constant linear velocity across the stylus. This feature greatly increased the capacity of the medium. Memovox discs have an impediment when it comes to playback-at least theoretically- because the grooves were cut, they would not necessarily be able to play on any memovox machine. These days [few?] memovox machines are extant save those in museums or institutions. Memovoxes can be played back on a standard 16-inch turntable with a modified motor, tonearm and stylus with alterations.
(http://www.cuttingarchives.com/faq.html)

from the photo you can see how easily the thin, 16-inch memovox discs warped. so the memovox recordings of pound's radio speeches were transferred to reel-to-reel tape at some point and finally to standard audio cassette (sometimes not always successfully or with technical difficulties created by poor media). an archivist listened to portions of all these recordings, dated them (presumably from the boxes in which the original memovox discs were contained) and evaluated them for quality ("very good" through "poor") in preparation of a printed finding aid that was probably made up sometime in the 1980s (possibly by leslie waffen of NARA's audiovisual archives division, whom ben and i would like to speak with at some point). the two dozen newly discovered recording will likely not all be audible enough to transcribe. and there is also the matter of locating, if they are extant, the actual FBIS transcriptions that were made of the recordings at the time. (doob clearly consulted these, and used some as his copy texts, but does not indicate where he obtained them. the staff person at NARA II thought they might be at the archives in downtown DC.)

fascinating how the cadences pound uses in delivering these speeches is very similar to the cadences he uses when reading his poems.

also fascinating to wonder about the FBIS employees who actually made those recordings, who might have been listening to pound in the US and UK, who made the FBIS transcripts and did the audio transfers.

Friday, March 03, 2006

dubya as LBJ

historical analogies are never perfect, but i continue to feel that we are at a turning point in american politics similar to the one we experienced in 1968. old leftist michael harrington published a book that year called toward a democratic left, essentially arguing that what was needed to address the failures of LBJ's great society was a leftward shift in politics and public policy. whatever the merits of his argument, harrington couldn't have gotten things more wrong: nixon won in 1968 and ushered in the general right-ward realignment of our nation's politics from which we continue to suffer forty years later.

like his democrat fellow texan, dubya is facing the music of an increasingly unpopular war (tho like money see monkey do, he has his fingers in his ears and hands over his eyes -- too bad he won't cover his mouth too). LBJ of course was facing real civil unrest at home, which nixon exploited with his appeals to law and order; dubya by contrast flouts the law at every turn.

question: are americans as fed up of the sewer conservatives have us swimming in now as they were of the civil unrest of 1968?

bigger question: who will stand up from the left with real answers?

i'm not alone in predicting (wishful thinking!) this leftward swing, but i don't entirely buy the arguments being made along these lines by, say, teixeira and judis, or shellenberger and nordhaus. the former relies too much on conventional red-state/blue-state demographics, while the latter's focus on values seems to me nothing more than a shallow bid for votes. michael lerner's approach seems much more genuine on this front. (and you can watch teixeira quibble with shellenberger and nordhaus over essentially the same turf.)

moreover, i don't see the ingredients necessary for such a swing: the discontent (or at the very least the grounds for discontent) are certainly there, but what's lacking from the left are people and ideas. what the right achieved between goldwater's slaughter in 1964 and nixon's victory in 1968 (with the crucial mid-term election being the one that put reagan in the california governor's office) was -- though in terms of ideas it have been in preparation for almost two decades -- impressive to say the least. the left has nothing comparable to show it seems. who is our goldwater: dean? nader? who is our reagan: obama?

more importantly, where are the ideas?

Thursday, March 02, 2006

section 25 always now

Always Now by Section 25i wish i could convey the extent to which a handful of albums -- section 25's always now, cabaret voltaire's red mecca, chrome's red exposure, pere ubu's dub housing, ultravox's ha!-ha!-ha! -- increasingly strike me today as profoundly bizarre things for the 16-year-old kid from suburban cleveland that i was to be tattooing his brain and ears with in the early-to-mid 1980s.

even to people familiar with the music of joy division and new order -- and i mean early new order: nothing was more devastating in 1983 than listening to bob hisnay, host of WCSB 89.3 FM's "radio nine" show, boast of having a test pressing of the new 12" single from new order, only to hear the pathetic computer-driven rhythmic motif that dominated that song in all its dancefloor glory -- the factory records ethos cannot automatically or easily be conveyed. (the film 24 hour party people does little on this front either.) it's really an insider/esoteric kind of thing, of which the music and martin hannett's trademark production values are only one part. the artifacts, the objects themselves, are quite another.

Always Now by Section 25always now may be the consummate factory records product. on bright yellow, unusually heavy cover stock, the elegant black type unencumbered by such nuisances as punctuation or word breaks brings what would otherwise be considered banal production details into the foreground, on par with the song titles themselves. the rule of measure along the bottom, combined with the graphic symbol/logos on the inside, suggest secret craftsmen's guilds or revolutionary political parties. and what an inside to behold: remove the tab from its slot and lift the flap up -- this isn't so much an album cover as an invitation to a very interesting trip -- and you will be greeted with some of the most marvelous marbled paper ever to grace a piece or recorded music, in which strands of the cover's yellow are swirled into oceans of blue. this is an audiophile's fetish object par excellance. who cares what the music sounds like?

of course the music suffers the fate of nearly all factory label product, the manditory comparisons to the gloomy alienation of joy division and new order. section 25 makes them both sound like jangly pop tunesmiths by comparison. the fact of a lot of joy divsion material was that bass player peter hook knew how to play his instrument better than guitatist bernard sumner, so the melody in a joy division tune often goes to the bass. the same holds true with section 25 if you remove the word melody. "friendly fires," the opening track on always now, is built around lawrence cassidy's eight-note bass figure that repats a fundamental, its octave and its major sixth; meanwhile his brother vincent's tribal dumbs pound away in the same figure, swirls of paul wiggin's tuneless guitarwash cascade around while lawrence intones affectlessly, "no one can escape / this kind of war / 40,000 feet / above the floor" (check my math but i'm pretty sure that's about eight miles high), all to come crashing down with four shimmering gong thwacks that merge and dissolve into electronoise dribble. junior, this is not your father's three-minute pop song.

A Saucerful of Secrets by Pink FloydMetal Box by PiL I knew nothing of psychedelia at the time and so did not catch any of the obvious saucerful of secrets supporting this particular dish. (my limited exposure to krautrock consisted of early kraftwerk and tangerine dream, which i could only account for as vaguely interesting hippie space noodling.) what i'm surprised that i did not connect up here was the obvious allegiances with PiL's metal box (of which i was and remain a big fan), particularly on "dirty disco" (with a likely nod to PiL's own "death disco"). "c.p" bumps up the melodic potenial with a chord "progression" taking place when the two-note bass figure is repeated one whole step down: its door-knocker stereo-separated drums and guitar electronoise would make it and the other instrumental number from side one, entitled "inside out" (actually featuring some piano!), not too uncomfortable sitting alongside brian eno's music for films. the remainder of this side, "loose talk costs lives" and "melt close," hew more closely to stereotypical joy division fare (bass-led melody, dour vocals).

side two's "hit" (of what pray tell?) opens with a few seconds of silence and accidental guitar notes before what has to be one of martin hannett's most classic percussive bombshells, a bass drum stroke that sounds like it was recorded at the bottom of an elevator shaft. across a simple bass melody and eerie guitar wash, lawrence cassidy intones with utter lack of affect, "ooh, life's a feeling. yeah."
with additional lines like "there's plenty of sadness already today, so why should we make any more" and "the future's uncertain for us all right now, why make things worse," this is the ultimate minimalist mix of post-punk dourness and cool psychedelia. "babies in the bardo," with its sitar-like guitar and electronic drones that resemble tibetan 12-foot steel trumpets, extends the eastern theme that will be picked in "sutra," from their followup longplayer the key of dreams, while the balance of side two, "be brave" and "new horizons," may be the album's most successful ventures into JD terrain.

Girls Don't Count by Section 25the factory reissue program undertaken by les temps modernes has been quite faithfully updating these gems for the digital age, including (as they often do) key singles-only releases -- in this case some of which eluded a factory collector even as ardent as myself, or that preceded always now, including the "girls don't count" 12-inch, whose a-side title track features lyrics -- "girls. don't. count. girls don't count, girls dont count [repeat liberally, substituting "money," "talk," etc.]" -- that encouraged one NME reviewer to write: "Girls don't count, money doesn't count, Section 25's irony doesn't work. Count me out." meanwhile, "knew noise" (sharing the b-side with "up to you") also really brings out the band's PiL side. (there's a sense too in which, in the context of minimalist postpunk noise, this stuff might be fruitfully compared with the new york no wave. tho throbbing gristle may very well have beaten all the yanks to that punch.)

an excellent history can be found on the band's website.

Wednesday, March 01, 2006

new at dcpoetry.com

On behalf of the whole dcpoetry web crew, I am very pleased to announce
a complete overhaul and updating of our website

http://www.dcpoetry.com

All the material from the old site -- poetry anthologies, history
project, reading series and venue information -- has been carried over
and given a new look. The anthologies can now be viewed in a variety of
ways: by author, year, and venue. (An incomplete list of authors whose
work has been featured in the anthologies from 1999 to the present can
be found at the end of this email. We encourage authors to view their
work and let us know of any formatting problems that may have arisen out of
the conversion process.)

We've also added a ton of new text and audio content, including...

* Dog City (1977) - PDF full text
* Dog City 2 (1980) - PDF full text
* Roof 4 (Fall 1977), "Washington DC Forum" - PDF full text
* Anselm Berrigan and Tom Orange at Bridge Street 12-12-04 - MP3s

New audio drawn from the vast archives of Doug Lang, Buck Downs and
others will be featured on a regular basis.

Also on the horizon...
* resource pages for current DC-based or affiliated publications
* the complete run of Primary Writing (1995-) edited by Phyllis
Rosenzweig and Diane Ward (PDFs)

I want to thank our web crew for making this renovation happen: Ryan
Walker (webmaster), Mel Nichols (co-editor) and Adam Good (sound man).

And all the authors who have shared their work with our audience here in
DC...

* Andrews, Bruce * Angle, Renee * Armantrout, Rae * Baratier, David * Battaglia, Joseph * Blau DuPlessis, Rachel * Bouchard, Daniel * Boykoff, Jules * Brannan, Jonathan * Bumstead, Leslie * Burns, Elizabeth * Charles Bernstein * Cobb, Allison * Coleman, Jennifer * Conner, Kyle * Conrad, CA * Corless-Smith, Martin * Cristy, Aviva * Darragh, Tina * Davis, Jordan * Deanovich, Connie * Degentesh, Katie * Derksen, Jeff * Devaney, Tom * Dick, Jennifer * Dillon, Susan Gardner * Donnelly, Jean * Downs, Buck * Dreyer, Lynne * Durand, Marcella * Eisenhower, Cathy * Evans, Thomas * Fagin, Betsey * Fitterman, Rob * Fitzpatrick, Stephen J. * Foo, Josey * Foust, Graham * Fox, Policeman * Fuchs, Greg * Fugate, Ethan * Fuller, Heather * Gardner, Jeremy * Gaughran-Perez, Jamie * Good, Adam * Gordon, Nada * Gordon, Noah Eli * Gottlieb, Michael * Gutstein, Daniel * Hansen, Jefferson * Hanson, Valerie * Iijima, Brenda * Inman, P. * Jarnot, Lisa * Joselow, Beth * Karasick, Adeena * Kunin, Aaron * Landers, Susan * Larew, Hiram * Lederer, Katy * Levitsky, Rachel * Lorber, Brendan * Lu, Emily * McCain, Gillian * McVay, Gwyn * Mirakove, Carol * Mlinko, Ange * Mohammad, K. Silem * Neilson, Melanie * Orange, Tom * Pallant, Cheryl * Perelman, Bob * Perry, David * Prevallet, Kristin * Putnam, C. E. * Putnam, Chris * Ramsdell, Heather * Riley-Hammer, Lee * Robertson, Lisa * Robinson, Kit * Roundy, Richard * Sand, Kaia * Scalapino, Leslie * Schaefer, Standard * Scharf, Michael * Seldess, Jesse * Shaw, Lytle * Sherlock, Frank * Sherry, James * Silliman, Ron * Smith, Lesley * Smith, Rod * Sonnenberg, Kerri * Stanley, George * Stefans, Brian Kim * Stroffolino, Chris * Sullivan, Gary * Susan Gardner Dillon * Taylor, Thomas Lowe * Tichy, Susan * Toll, Chris * Tuttle, Bill * Veglahn, Sara * Wagner, Catherine * Walker, Ryan * Wallace, Mark * Ward, Diane * Waters, Jacqueline * Watson, Craig * Weiser, Karen

Enjoy and stay tuned for further updates!

notley & bok

Christian BökAlice Notleykap has done a pretty thorough report of the alice notley and christian bök seminar and readings last night. i'll only add that christian's response to rod's question about "the most ambitious work of poetry" he's seen or heard of was hilarious: from a machine that literally digests and shits gourmet meals as art, to a poem translated into gene sequences that are then injected into bacteria and thereby outlive us all.

i've heard christian read many times since i first met him in 1997 i think, when peter jaeger invited him and darren wershler-henry to read at the university of western ontario, they stayed at my apartment on dundas st and gave me signed copies of nicholodeon and crystallography in exchange. but i've not heard christian's forays into turntabling and beatboxing and i have to say in agreement with kap that christian again demonstrates the virtuosity he brings to whatever task he sets himself upon.

as if christian's hugo ball dirge didn't sufficiently clear the air, alice notley literally blew my little ego self quite clear of my body. (i found it in a whimpering puddle in the back rows of the ICC auditorium.) notley's observation that she seems to have a lot of unpublished manuscripts these days seemed like a perfect indictment of the poetry world: this stuff is like lightning. i'm reminded of how bob thiele, producer for impulse records in the mid sixties, told the recording studio folks basically to let john coltrane in any time he wants and record everything his group played. (or has mark wallace recently and eloqently put it: burn it all and let god sort it out.) in a more just world, everything that comes off of alice notley's laser printer would be published without delay. we need it to be so, for this is how vital and necessary her work is.

based on imperfect recollections of my converations with her after the reading, here's the situation on her unpublished manuscripts:

Alma, or the Dead Women - forthcoming from granary books (read a portion in Primary Writing #28

Grave of Light - to be included in the forthcoming selected poems from wesleyan (she concluded with poems from this i think)

In the Pines - under consideration (she started with poems from this)

Songs and Stories of the Ghouls - under consideration - devastating long poem from this she read mid-set (the poem in coconut #1 gives no indication of which)

let's go, publishers...

p.s. an how about some granting institution to help justin bring out a notley recording with narrow house?