A METHOD OF [A CLOAK]
Aug 1-14, 2012
A moment of delay or focus in order to dialogue the gap between our more or less 'private' writing and the public world. Via Charles Bernstein's notion of an applied poetic, implying a 'use' value whereby our aesthetics might engage discourses of (more or different) authority, taking a series of provisional positions of social or political consequence within or around or beside an aesthetic practice that interfolds an ethics. "School" because looking to minimally institutionalize a place for such dialogue, thinking learning as an far-inward-outward modulation of attention and listening.
Operations partially funded by the junior fellows prize from the Kelly Writers House.
Organized by Genji Amino & Daisy Atterbury.
Some participants in 2012:
Benny Lichtner, Valeria Tsygankova.
A DRESS to [by] residents.
What is practice-based criticism?
Learning suminagashi (“floating ink”) with Suzanne Vilmain.
“older i walk back so he’s older he’s gone backwards”
Carmen Giménez Smith reads to us from “Be Recorder.”
Carmen Giménez Smith’s righteous/anxious monologue articulates the tensions surrounding self-identity through merciless transcription. And it is awesome.
Evan Lavender-Smith reads to us from “From Old Notebooks” and “Avatar.”
His voice strikes me as incredibly sincere (and honest), which made it a joy to listen to him read these pieces.
by Daisy Atterbury
photo by Ted Kuykendall
“a thing hid out and then the funniest thing.”
by Tamar Nachmany
“The sex appeal of a desert woman originates from the backs of her knees, where she is welted and moist and delicious.”
There’s another great one involving spiders, but I’ll let it come as a surprise.