Saturday, 18 September 2010

Toward a Radical Historiography

Here is an unpublished essay completed in the Spring of A.Da. 91 (2007) for a publication which never appeared. As there was a word limit, this text is particularly condensed in its logic and argumentation. I am currently undertaking a theoretical manifesto likely to end up as a thick chapbook which pursues much more radically the conclusions implicit in this text. Elements of the text I am posting here will end up integrated into this larger undertaking, which is intended as a burning of bridges. But as that text will most likely not see the light of day until spring, I make this available here.

Creative Sociality and the Traditions of Dissent:
Toward a Radical Historiography
Olchar E. Lindsann


If I were to state that I am writing on Art (or even art), and provided that I present neither a straightforward exposition of technique nor an unadulterated report on economic activity in the home-decoration industry, it would be understood that I referred to a cultural edifice dealing with a concept of Art inextricable from an intellectual or discursive dimension--a notion of Art as being related to Thought. What was once called 'High Art', and has since been given the euphemism of Fine Art, is a cultural edifice which distinguishes itself from the broader range of human aestheticreative activity, and especially from domestic decoration ('kitsch') destined for popular consumption, through either the controlled and managed scarcity of material objects or through the assumption of formal frameworks and characteristics destined to alienate normative audiences; Art justifies this (implicitly hierarchical) distinction and elevation from the general field of production of social artefacts on the grounds that Fine Art is uniquely self-critical. In turn, Fine Art's intellectual veneer is what makes it valuable to the avatars of established power, providing them with a hypocritical yet serviceable ethical alibi for the systems they perpetuate.

Utopia is thus implicit in the very genetics of any concept of Art entailing this distance from the normative (which is, after all, inseparable in practice from the Mass Market). Art, and Artists, buy their status as Intellectuals; and the currency they use is their presumed responsibility toward the Higher Ideals of a culture whose designers and maintainers do not in fact subscribe to them. High Art can maintain the ethical legitimacy of its distance from popular culture (the ivory tower, the hermetic vessel, the white gallery walls, the subculture) only if this distance, this self-definition, serves to create new techniques of living and of thinking which can materially and radically re-register society, granting that such shifts must (by reason of this necessary distance) be transgenerational and indirect.

Yet around this model of Art as a Utopian Island which carries on the selfless work of the best of our culture and floats above the petty materialism of our actual society, an infrastructure of closely-entwined institutions has simultaneously developed--museums, publishing houses, financial support from Nation-States, contests and State-funded biennials, commercial and non-profit galleries, corporate-funded residencies, academic tenure systems, philanthropic and corporate endowments, festivals, auction-houses, etc.--all closely allied to the political and economic entities responsible for the maintenance of Capitalist Imperialism.

These institutions mark the removal of Art from the mass market, but at the same time they reinstitute within this sphere of presumed integrity another market, this one targeted at small elite audiences, well-educated enough to feel a twinge of guilt about the global cost of the lives they live and of the systems for which they provide specialized support. This market creates and manages cultural Capital in a sociopsychological economy, its function to perpetuate amongst the educated classes the lie that they are living up to their ethical responsibilities as the privileged children of the Western Polis and, by extension, the very symbol of the decadence of the human project.

Starting years before any potential student or cultural worker's formal education and intellectual life begin, these institutions regulate every possible facet of the discourse which defines Art itself. They gradually establish the intellectual terrain in which students are to attempt to establish themselves as artists or intellectuals--which is also to say that these institutions of power establish the borders, the blind-spots, and even the psychological logics and insecurities which will keep the sheep within the fold without their feeling the bite of a whip; for a whip might bring too many realities home.

Thus liberally domesticated, the situation of the artist in relation to society is altered and channelled; in the gentlest and most discreet of ways, the avatars of power (or their more euphemistic avatars) offer the Artist status, security, and possibly money (at least enough to keep off a workshop floor and avoid the stigma of Worker) in return for an elaborate, quasi-conceptual proof-of-purchase declaring implicitly, and any overtly 'political' content not withstanding, that the system is all right, and that at least those holding the reins still support the advance of Abstract Culture, even whilst starving entire continents with the policies that they design and execute.

Every element of the dominant discourse on creative activity must therefore be looked upon as suspect.


If we examine any mainstream historical treatment or ‘analysis’ of creative currents (‘Anti-Art’, ‘Avant-Garde’, ‘Alternative’, etc.) standing in defiance against the commercially and institutionally mediated infrastructure of ‘High Art’, we will nearly always find that this analysis, and the historiographic framework which it silently presupposes, organizes itself around productions (objects, public actions, published texts, etc.) and ideologies (positions, units, and systems of thought, segregated from the practical contexts in which they acted). The social structures of these groups and traditions, their internal dynamics and modes of interaction, organization, and communication, are effectively ignored or marginalized.

Since the majority of such anti-institutional projects in the ‘creative’ domain have been emphatically collective endeavours, the exclusion of this dimension of avant-garde activity in orthodox histories, the slight of hand by which the strategies and modalities of this collectivity are whisked under the rug in official pedagogy and analyses, reveals itself a politicized blind-spot. It is incumbent upon those of us attempting to continue this broad tradition of dissent to examine this historiographic ploy, and to haul the issue into the open with an eye toward combating it.

One consistent project of this dissenting tradition―arguably its most defining project―has been to abolish the social definitions and the discursive, disseminative, and commercial walls that pen creative activity within the edifice of ‘High Art’ and away from the social conditions in which everyday life takes shape.

The collective impulse―in all of its countless manifestations―represents a focus on creative sociality. The sociality of the 'creative' subculture is merely the hermetic vessel within which the Avant-Garde performs experiments; more pertinently, its project might be conceived of as the conscious re-designing of how humanity can relate to itself. This consciousness and active involvement in how we conceptualise subjectivity and society constitutes the greatest revolutionary potential of the creative project―and the greatest threat to the commercial and institutional structures whose function is not so much to profit from it (despite its decadence, the yields of the Art Market form a negligible portion of the GDPs of the great Western nation-states) as to constrain it.

The radical potential of Thought emerging from the Avant-garde does not reside in Ideas: it resides in the way ideas are made. Different communities communicate differently; new ways of relating and interacting lead to new ways of thinking and of acting collectively upon the world.

The maintenance of this social prison, ‘High Art’, has therefore found its principal task to be that of mediating and regulating creative relationships through institutional structures. Students (formal or, less directly, autodidact) in their most formative, insecure, and critically-undeveloped stage are inculcated with the idea that validation and respectability can be easily located and enumerated through either the commercial gallery system or the State-sponsored University and Artist Grant systems (the former too often a compensatory myopia, the latter by design a monetary leash). The discourses and organizational protocols--both official and conventional--are ready-made; and thus new forms of sociality, which might threaten to destabilize the discursive and commercial infrastructure that this notion of High Art veils and supports, are curtailed. Creative agents are segregated and neutralized as ‘producers’ and ‘consumers’, ‘creators’ and ‘critics’, ‘practitioners’ and ‘theorists’. Ideology, in turn, is as subject to this operation as the production of objects or actions; it becomes something to be consumed or rejected, not discussed and activated.


Within anti-institutional traditions, a group’s productions and the ideology they articulate reflect, they do not embody on their own, or merely through their transgression of the boundaries of dominant social ideas of ‘Art’, the deeply radical stance of a group. These gestures have been metonymic, not self-sufficient. A new technique or material was an element and manifestation of a deeper revolt; its goal was analogous to, or a tool toward, but not equal to, an alternative vision of human potential. Moreover, as originally presented, these ‘artistic’ gestures were inseparable from the presence of the collective, because the collective permeated the context of the creative act, its creation and its circulation.

The dominant institutional discourse with which we are faced today―‘Post-Modernism’ or its derivatives―has rendered this kind of transgression inadequate. Their symbolic function has been pre-empted. Such gestures are immediately recuperated into its intellectually hazy brand of ‘relativism’―merely a euphemism, when so employed, for its abdication of ethical responsibility, whose fruits it nonetheless continues to collect. The artistic ‘production’ can no longer be effectively transgressive so long as it can somehow be consumed.

The same ‘Post-Modern’ logic also neutralizes any Ideology it encounters by obscuring it through a metadiscourse of ‘irony’. Even an explicit challenge to orthodoxy becomes atomized, circumscribed, packaged, and imported into the self-assured commercial and status-economy of the institutional infrastructure. Anti-Institutional gestures end up published by Phaidon. This is why it has been possible for this system to discuss, to varying degrees and with staggering distortion, the productions and ideologies of Dada, Surrealism, Fluxus, etc.

But the creative sociality developed in these and other collective efforts cannot be recuperated in this way; they are not symbolic of a dissenting stance, but rather constitute a tangible, practical structural threat. The sustained existence of a non-mediated or self-mediated community makes the functioning of a stabilized commercial infrastructure literally impossible, by removing the very conditions in which a controlled and centralized discourse can operate. This is why mainstream history and historiography―always instruments of subtle propaganda―have attempted to ignore and bury it.

Radically new and productive modes of sociality have always continued to develop―e.g. Mail Art, heteronyms, virtual and mythic projects, countless new forms of international cooperation on every level enabled by technological development (at least in more privileged nations)―and forms of collectivity inherited from earlier generations continue to be developed, amended, and expanded, in both local and international configurations. Nonetheless, much of the discourse coming from within or occurring between dissenting communities continues to focus almost exclusively on transgressive forms and ideology, thereby limiting the revolutionary potential of the practice of the creative re-structuring of interpersonal relationships, which in underlies the production and the thought of dissenting communities. It also effectively limits the applicability of this discourse, constraining it (as the institution also does) within the social and conceptual boundaries of High Art.

We must recognize that the frontier between ‘life’ and ‘art’ has largely shifted to the level of structure rather than ideology.

Without abandoning ANY of this discourse then, we must begin to articulate explicitly and in detail that what is at stake are not merely new forms of making, but new forms of living, thinking, and relating. We must examine the various strategies of socialization that have been adopted, their successes and failures, and we must explicitly address these issues among and between communities continuing these struggles and explorations. Only by forcefully establishing and maintaining rigorous and strategic alternate historiographies to combat the subtle propagandists of the commercial Institution can we locate and attack the governing structures themselves which support that orthodoxy, recover the significance of creative activity itself (which would cease to be ‘production’ and ‘consumption’), and begin the definitive erosion that constrains the potential compass of our various developments within a bounded ‘subculture’ of educational elites, while the rest of our society withers and contaminates the rest of the world with the poison leaking from it. We must collectively strategize, both within and between the various communities involved in this heteroclite struggle. Our collective strategizing and our strategies of collective action must constantly reinforce and develop each other. Only in this way can we dissolve the foundations of this particular avatar of Power, and deny it the opportunity to rebuild.

Saturday, 28 August 2010

Update of Sorts

The following is nicked from the mOnocle-Lash blog, but it doesn't hurt to throw it up here too as it's only partially publishing-bound. There are further updates there.

Until I have a home and full access to my files, archives, materials, workstation etc. mOnocle-Lash is still in half-gear. But things ARE moving, and here's a scattered and meandering update in-between 'official' website news posts, partly on current and future projects, partly on potential directions and focuses for mOnocle-Lash:

The Jeunes-France Bouzingo

Here, I shall be brief, for fear of being far too long-winded. Suffice to say that things procede swimmingly, as one can see by going HERE. This new Jeunes-France/Bouzingo website is not quite ready for official launch, but since this blog has only two regular readers, I doubt it will hurt to mention it here.

OSU Avant Writing Symposium

From Aug. 19-21, Ohio State University hosted one of the largest gatherings of visual poets, performance writers, avant-gardists, mail artists, and theorists, critics, and archivists of experimental writing in years, drawing attendees from across the US, Canada, Cuba, Brazil, Chile, Argentina, Spain, and elsewhere. The symposium included over 40 lectures and performances (12 hours a day!) in three languages, several exhibitions, and various other activities.

A Post-Neo/Collab Fest delegation drove up from Roanoke, including Olchar Lindsann, Warren Fry, Jim Leftwich, Sue Leftwich, and Aaron Bensen; in Columbus we met up with Ohio Post-Neos Bela b. Grimm (our host), Imogene Engine, Aaron Andrews, and Tomislav Butkovic in from New Jersey for quite a strong Post-Neo showing. We were able to see old friends again, meet long-time ocllaborators for the first time, and begin new relationships. I'll not go into detail or I'll never finish, but among a great many stimulating presentations were Fluxus actions by Keith Buchholz and Reed Altemus, a very thought-provoking presentation by Lizabel Mónica on underground literary activity in Cuba (more below), some provocative questions regarding the efficacy of the avant-garde by William James Austin, a performance by the Be Blank Consort, several presentations on digital writing in South America, a fascinating and spirited presentation by Michael Peters of materials relating to Fleury Colon donated to the OSU Archive, superb performance-lectures by Geof Huth, Martin Gubins, and mIEKAL aND, a joint reading in memory of Thomas L. Taylor, a wonderful mail art show organised by C. Mehrl Bennett, Collab Fest organised by Jim Leftwich, also a lecture and performances by myself--and much, much more.

In addition, and more on-topic for this particular blog, was a store with stalls of material from 15 or 20 micro-presses focusing on experimental writing, including mOnocle-Lash. In addition to transactions carried on here, there was a large amount of direct trading among us. It was wonderful to see so much variety both in content and in publishing approach, especially as print becomes increasingly rare in micropress publishing. These exchanges include Reed Altemus' Tonerworks, mIEKAL aND's Xexoxial, Endwar's IZEN, Tom Cassidy's Musical Comedy Editions, Crag Hill's Meritage Press, and of course John Bennett's Luna Bisonte. There was much more that I have yet to check out. I've added links on the mOnocle-Lash webpage to some of these presses (as well as to some additional online presses), and plan to distribute catalogs of of some who do not have webpages along with outgoing packets.

mOnocle-Lash publications available there included the journals Synapse 4 and BARM 1; the anthology Lung Crackle; Imogene Engine's The Iuk Kide; b.b. Grimm & O.Lindsann's The Myopic Deathray; David Beris Edward's Mr. Rutabega & the Clockwork Mince; Megan Blafas' DadMama Baroness Paper Dolls; my The Ecstatic Nerve, Toward a Breathing Text, Ananchronism as Dissent, and Feral Pool; and the mOnocle-Lash catalog.

Some Thoughts on What's Next

As one would hope, I went into the symposium with certain thoughts in the back of my mind, and emerged with them at the front. The participation of many writers from Spanish-speaking countries--and in particular the presentation by Lizabel Mónica of Desliz on Cuban dissenting literature, conversations with her later in the weekend, and the accompanying packets of work and documentation that she brought along--helped to bring into focus a concern that I have had for some time, already made pointed by my interaction with Gleb Kolomiets' Slova in Russia and the linguistic and traditional complications that make up the fabric of mOnocle-Lash's own Bouzingo project. This concern is the isolation of the anglophone avant-garde.

I have for some time become increasingly impatient with the ethical and political complacency of marginal creative communities--what I would like to consider avant-gardes. My attempts both to think my own way out of this impasse and to goad the milieus with with I engage to more rigorous self-reflection and action in this regard are complex and have met with widely varying degrees of success so far. These attempts repeatedly pose the questions: How can we define, and then achieve efficacy? What must my own generation--those of us now entering our intellectual maturity and faced with a field of possible ways forward--achieve in order to re/establish a groundwork from which the avant-garde can become a social force rather than a literary-artistic genre? What must we address, and how?

These questions have been sharpened and recontextualized through my engagement with Gleb's Slova project and the group of writers, performers, and intellectuals with whose work I am slowly becoming familiar through it. As I interact further with communities across languages, in political situations vastly different from my own--realising along the way how deeply isolated my own Anglophone conception of the avant-garde community and tradition has become, and how difficult it is to overcome this limitation in the absence of adequate translation--this line of questioning solicits further and even more uncomfortable questions:

What can be the role of a Western, Euro-American Avant-Garde, especially an Anglophone avant-garde, which is in the final analysis an avant-garde of the undeserving elite? Of the only such communities who can afford to be "apolitical", or to choose to be otherwise, who have the privilege to risk complacence? To what extent does the Anglophone avant-garde reproduce within itself, unconsciously and hypocritically, the isolationism and nationalism of the society it wishes to subvert, an isolationism that takes the form of a blindness and an obliviousness to its own linguistic and political situation that is only possible when one speaks the language that is, after all, the literary equivalent of the Dollar, by which every other linguistic and literary currency is oriented and, all too often, devalued?

What are our responsibilities, and to whom? What are our unique resources, and how might they best be utilized in service of a vision of a truly global and transnational avant-garde?

And, most pointedly to the purpose of this particular blog, what role ought mOnocle-Lash to play in asking and then answering these questions, and providing platforms for response?

I am groping toward answers to the initial questions posed here, or more precisely toward a platform through which these questions might be asked. The most obvious and immediate answer is an increase of translated texts in Synapse and other venues; the practical issue of getting texts translated can come largely through increased dialogue and involvement with the communities themselves from which texts originate, and some hurdles might be overcome via the experiments in collaborative translation being carried out via the Bouzingo project.

But beyond this, platforms of exchange must be established through which these questions can be asked and answered within an international context. Here again I find excellent models in Slova (and the associated decentralized press Mycelium) and Desliz, both of them multifaceted projects, network-nodes whose focus is on facilitating exchange on local/national levels and on international/transnational levels simultaneously, both of them establishing a loose centre via journals that bring together poetic, artistic, and theoretical work from an array of nations and, to the extent possible, languages.

Desliz in particular uses the internet to host this wide range of discourse, creative work, documentation, announcements, calls for entries, etc and as the most effective way (despite its illegality in Cuba) to slip through national borders. Lizabel in fact upbraided me for this reason for having so little of the mOnocle-Lash material in pdf form. (I am in the long, slow process of digitizing--new publications will almost all appear simultaneously in both forms.) This kind of thing must be a long-term goal, but it is long-term.

In the meantime, there is at least one way in which the pervasiveness English can be turned against itself; as the language most commonly translated into and out of, it can serve as a kind of way-station of translation. A text translated from Russian to English may stand a better chance, on the underground level in which we work and if directed toward this purpose, of ending up in Spanish. Etc. etc. The same goes for discourse in general, including strategic exchange.

The most recent issue of Gleb's Slova includes a number of English texts translated into Russian, including SPART/Post-Neo's Nobody Go Anywhere Essays, and a number of Russian texts rendered into English. He's sent me a text detailing the current conditions of micropress and small press activity in Russia, which I'm waiting for an opportunity to publish. Lizabel's presentation last weekend, also translated, covers analogous territory. In both cases I have discussed potential translation/publication/distribution of work by others in their communities.

While I'd initially conceived of carrying these ideas out primarily in Synapse--and certainly there will be translations and quite possibly untranslated work in future issues--I am moving toward the notion of a separate journal, with an emphasis on expanding dialogue regarding these issues and resolving the challenges that avant-gardes and related communities face in their various contexts, evolving ways of coordinating internationally with an understanding of the very different resources and conditions that face cultural workers everywhere. What such a project might turn into would be decided organically as a result of this conversation.

This is where I am right now. Such a project as outlined above would not be put together until early next year (I still need to find a job, rent an apartment, and help establish an educational co-op this year...) I am on something of a precipice, and welcome ideas.

Monday, 29 March 2010

On the Voicing (em-bodying) of Poetry

Lecture notes/Score for the lecture that I gave at the Marginal Arts Festival in Roanoke, concerning the development from poetic recitation to performance poetry over the course of the 19th century:

  • Capsule Argument: Poetry has its roots in the oral, to which Performance Poetry is a return.
  • BUT it is not the same thing; the fact that it is a return makes it unique.
  • Perf. Poetry often talked about as if it burst forth from Futurism/ Dada/ someone specific
  • In fact was the terminus in at least a hundred-year development in avant-garde writing.
(this trajectory not definative)

  • -Most systems of writing have their origin in religious and magical practices.
  • -Over the course of thousands of years, as writing became more secularized & literacy grew, poetry became increasingly connected in people's minds with a text.
  • -This means that readers could re-read poems; things could become more subtle, and did not have to depend upon sound to set them apart.
  • Oral Poetry derives from storytelling and/or ritual; Perf. Poetry from reading.

  • -Regular part of life from at least the 16th Century onward: in living rooms, taverns, stagecoach, etc
  • -Poems still regularly read aloud, but A.) it was an option, & B.) no memorization
  • -meter & rhythm act similarly like 'score' elements for both voiced & 'silent' reading
  • 18th-19th Centuries: The Lyric: primarily written form (unlike ballad) modeled on speech
  • -spoken of as twining of music & language on subtlest level
  • -generally personal, introspective in nature: focus on subjectivity.
  • -Coleridge, Shelley, & others trained themselves to speak & think extemporaneously in verse, choosing terrain to walk according to verse they hoped to speak
  • -Application of declamatory technique to conversation
  • As in oral poetry, sound attempts to reinforce (while denaturalizing) subject-matter
  • Recitation rhythmic & chant-like, w/variations introduced to infuse lines with emotion and force
  • Intro- dream transcription
  • content and form can be apprehended simultaneously, reinforce each other
  • declamation is experienced as hieghtened speech in this way--'natural' rhythms under- or over-riding metric structure

  • In the following two generations of Romantics, sound and rhythm kept taking on more prominance;
  • rhyme and metric schemes became more complex and virtuosic.

INTERLUDE: Nonsense & Satire
  • -Genesis in children's lullabyes etc., heavy rhythm & rhyme for memory & attention when read aloud
  • -Benefited from the Romantic freeing of verse-forms & subject matter
  • -Emphasis on pure sound & musicality led to use of nonsense words/phonetics
  • -By 1840s-50s, a definite tradition of Nonsense verse existed and moved into Satire

  • -Hood: Third-Generation Romantic; Punch, etc. directed at Bourgeois audience
  • -combines Romantic virtuosity & sensibility of sound with those of traditional ballads and of British comic & nonsense poets (Lear, etc), often infused w/social satire or critique, still reinforced by rhyme & shadows of ballad.

  • -This poem is quoted in full by Poe in The Poetic Principle several years later, notes tension between nearly absurd scansion and pathetic subject matter.
  • -For Poe, most important element of poetry is rhythm; rhythm is addressed primarily through languages/concerns of music and mathematics
  • -tension between regular rhythm and repeated meter on one hand, & small anomolies of rhythm and distensions caused by semantic element on the other ('melody')
  • -Metric, rhythmic, rhyme & assonance schemes of a poem designed before even choosing a subject.
  • -For Poe, the organizing goal of a poem is not narrative, emotional, moral, etc but Phenomenological/phisiological. All decisions in writing a poem derive from their effect.
  • -Emphasis in declamation was rhythm, the maintainance of the metric time with rhyme & rhythm acting as reference-point and assonance & internal rhyme as counterpoint

ex.- POE, THE BELLS (1849)

  • -Poe had almost no influence on American writing--primary influence was on French Avant- Garde => Symbolism
  • -Symbolism attempted to reconcile through intensification poetry's oral-mystical roots with its textual-technical development through intensification:
  • a.) return to idea of Language as sacred/magical (developed by Atheists, etc...)
  • b.) intensification of opaqueness/ “textness” of poem
  • Symbolist poem as object of meditation--rel. Monastic text. meditation, mandala, etc
  • To be read, re-read, re-read over years in order to come to grips with
  • Principle developer of Symbolist thought => Mallarmé
  • -Goal to eliminate what triggered poem, leaving only its traces of thought
  • -Intra-& inter- oeuvre Symbolic system
  • -Grammatical bivalence
  • Jarry: disciple of Mallarmé, author of Ubu
ex.- JARRY, VEGETABLE (1894)
  • -instant comprehension of poem impossible-
  • -reading aloud is fundamentally different than reading as text
  • -when read aloud, becomes a score rather than a text
  • -for first time, poem IS something different when being voiced
  • Symbolist Declamation:
  • -In contrast to object of meditation, the declaimed symbolist poem is ritual/prayer
  • -Sometimes presented in intimate settings & soirées, sometimes alongside plays, w/choreographed lighting and trained singers & actors reading
  • -hieratic reading style--restrained, subtly musical, measured, without obvious or straightforward emotion
  • -text reading the body
  • -performers instructed to block out semantic aspect of poem when reading
  • -listeners intend to be suspended at the edge of comprehension, feeling the effects of semantics but not actually understanding 'meaning' of poem--NOT 'solving a puzzle'
ex.- JARRY, VEGETABLE (1894)

  • -Comp. Mallarmé's performative conversation to Coleridge 'gestures of officiating priest' etc
  • -used declamation, whispers, gesture, silence, planned actions, mime as part of lectures
  • -When Mallarmé died in 1898, left immense unfinished performance poem called 'The Book'; half burned by executors
  • -200 remaining pages--to be unbound in 20 volumes, with repetitions
  • -Performance (basic):
In domestic setting with invited guests
Customized shelf with pigeonholes containing volumes
Bell rings, 'operator' enters up aisle between chairs
Takes sheet from random from each, shuffles them
Reads & comments in sequence; shows some to audience, others not.
Leaves abruptly as if finished; but returns after 15 min. with another bell.
Switches volumes around, repeats

  • -Final major poem was also published w/discussion as score, and direction for score's interpretation
  • -Unlike tightly-woven sonnets, etc., is a treatment of Mallarmé's atheist mysticism, organized around rhythmic alterity of silence & Language
  • -Potential field of performance Poetry sketched out by Mallarmé taken up 15 years later, exemplified in different aspects by Schwitters, Hausmann, Huelsenbeck, etc


Saturday, 27 March 2010

A Heterogenous Update

A few scattered things here to supplement the update to the mOnocle-Lash blog that I"ll be doing later today:
  • I plan to get the hell out of Jersey, and the nacreous spillage of New York in general, for good at the end of May. Roanoke, Virginia: brace yourselves...
  • On April 16, I'll be participating (along with the rest of NJ PNA) in a Flux-Festival held half inside Printed Matter Bookshop in New York city, half outside on the sidewalk in front. This is organized by Keith Buchholz and promises great fun. There are a gaggle of other Fluxus and Network gatherings and events throughout the weekend, including another Fluxus/avant history tour of New Brunswick like the Anti-Tour we hosted several years ago. I'll be making as many of these events as I can, everything considered. I'll post Keith's announcement on everything later. For the moment there's this:

  • And here's a work in progress, largely inspired by the Bouzingo quasi-translation/versification, which has my blood pumping metrically of late; posted primarily with a view toward the translation of Bouzingo work being done by various people right now, as an example of what the construction of such texts look like.

The theme is a favourite Decadent/Symbolist one touching on the logothetic practices dealt with in The Ecstatic Nerve, that of the incubus. I've devised a variation of a ballad form, allowing me to frame the poem as a cautionary tale sung from mother to daughter and attempt to de-mysogify, if not un-complicate, the traditional treatment of the theme.

The same '-ying' B rhyme (a double-rhyme, including slants) recurs throughout the poem, while other A sets dodge around them from stanza to stanza. I've not yet decided on the C rhyme, which will scan across the poem as a whole, one in each stanza:

Song of Caution for the Virtuous Incubus

[alternating iambic tetrameter & trimeter w/bastard syllable, w/terminal pure trimeter]

[5 stanzas: ABABC, C to rhyme across the poem]

{stanza: didactic summery of argument}

A Pay heed, young XXX in XXXXXX[hurt/ girt

B lest into XXX you XXX

A For what XXXXXX turns back to dirt


C [trimeter]


A For once a XXX some XXXXXXXXX

B with men of meat go[es] lying;

A and though she tremble intoXXX

B she ends XXXXXX repining

C [trimeter]


A XXXXXXXXXXXX with XXX of flesh,

B In XXXXXXXXX reclining


B are soon enmeshed with dying

C [trimeter]


A A dying XXXXXXXXXXXXXXX {dying not death...}


A XXXXXXXXX she replies that there

B are many forms of writhing,

C and


{stanza: echo & subtly subvert 1st stanza}

A For flesh grows old, and cold, and dies;


A Despite she who, XXXXXX, replies:



Tuesday, 2 February 2010

An Extended List


The listing below is well-nigh as comprehensive as it's going to get; more hyperlinks and a thoroughly up-to-date online directory are also eventually on their way. (Needless to say, projects initiated under [other] pseudonyms and heteronyms, and projects not intended for public consumption, are excluded.) At some point I will collate an alternative articulation of this material, wherein everything is presented chronologically rather than subdivided into formal or other categories.
In the current thematic format, dates are given in Annum Domini for the benefit of those not committed to the Annum Dada system; the opposite approach will be taken for the chronicle.
A.D. 2002 = A.Da. 86 A.D. 2009 = A.Da. 93 etc.

Here, the activity is organized under the following headings, in a not entirely irrelevant order (I have tended to attempt to reduce redundancy, though some exists in cases of seperate functions perpetrated under the umbrella of a larger event or project):

Affiliations / Stewardships
Anti-Cabarets, Orchestrated Events & Devised Performances
Other Performance Events as Organiser
Published Books & Tracts: Sole or principal Author
Published Books: Multiple Authors, Anthologies, Etc.
Journal Publications (excluding Synapse & Appropriated Press)
Publications, as Editor
As Performer: Performance Poems, Readings, and Musical Sets
Released Sound Work & Albums
As Performer: Dramatic Work & Puppetry
As Performer: Selected Street Actions, Interventions, Anti-Adverts, Etc.
Permanent Collections
Gallery Exhibitions (as contributor)
Radio Broadcasts
Selected Texts and Other Work Available Online (also see online Journals)
Blogs as Contributor
Reviews/ Discussion in Interviews

Copies, manuscripts, works, documentation, flyers, correspondence, relics, and ephemera relating to all of these actions, publications, and events reside in (and are available from, upon request) my Post-NeoAbsurdist Archive, the itemized cataloguing of which is currently underway, to be posted online as sections of the archive are prepared.

Other online resources can be found to the right, with more coming soon. The best sources for recent documentation are the Post-NeoAbsurdist and textimagepoem blogs, and Jim Leftwich's flickr site.

Affiliations / Stewardships
  • Maintenance Dept., Columbus College of Art & Design (2000-2002)
  • Catharsism of Narcotica Artmaking Collective (2002-present)
  • Founding member, Post-NeoAbsurdist Anti-Collective (2002-present)
  • Editor/publisher of mOnocle-Lash Anti-Press. (2003-present, 46 published titles to date)
  • Post-NeoAbsurdist Archive. Hundreds of documents, manuscripts, publications, performance relics, and original artwork associated with the Post-NeoAbsurdist movement and affiliated groups, communities, and collaborators in the avant-garde and Eternal Network.
  • Founding Associate of Post-NeoAbsurdist Institute for Anti-Rational Affairs. (2006-present)
  • Senior Associate, Right-Geist Connections, Ltd.
  • Involvement with Post-NeoAbsurdist, Fluxus, Neoist, zoum-correspondence, noise, and death metal communities.

Anti-Cabarets, Orchestrated Events & Devised Performances
  • Fluxus Street Theatre. Participant in event organised by Keith Buchholz, w/R. Altemus, M. Bloch, T. Butkovic, M. Campbell, W. Fry, P. Gaglione, R. Janssen, M. McCarthy, A. Revich, C. Tarantino, C. Touchon, J. Zoellner, etc. Printed Matter Bookshop, New York, NY. April 16, 2010.
  • Apocalypse. Co-organiser & performer w/B. Chriss, W. Fry, J. Mathews, T. Butkovic, T. Campbell, M. Blafas, & K. Doerrer. Flashpoint Gallery, Washington, D.C. Sept. 11, 2009.
  • Quadricentennial Bilge-Worm Cabaret. (w/D.B. Edwards, W. Fry, E.F. Waterfowl, & A. Oliver.) Co-organiser & performer. International Post-NeoAbsrdist Anti-Festival, Oromancer, New Brunswick, NJ. June 28, 2008.
  • First Blood. Co-organiser/host/performer: Barm #1 Release, Anti-Adverts, etc. Oromancer, New Brunswick, NJ. June 7, 2008.
  • Mr. Squibbles Shows some Films. Participant, Organiser, & co-Director w/E.Lennard of live filming-event. Lost & Found Gallery, New Brunswick, NJ. April 12, 2008.
  • The Silent Soiree. Participant & co-organiser w/W.Fry. PNA HQ, New Brunswick, NJ. March 8, 2008.
  • Anti-Surgery. Participant & co-organiser w/W.Fry. Lost & Found Gallery, New Brunswick, NJ. March 8, 2008.
  • Bosch on Ice. Co-captain w/W.Fry of 'Hell'. Protec Hockey Rink, New Brunswick, NJ. March 1, 2008.
  • FIDDLESTICKS #1. Co-organiser & performer. Collective reading of poems by John M. Bennett. Lost & Found Gallery, New Brunswick, NJ. Feb. 23, 2008.
  • Brutesthletics 2. Co-organiser & participant w/T. Rusotti (Institute of Aesthletics) & W. Fry. Two events. Rutgers University, New Brunswick, NJ. Sept. 29, 2007.
  • Anti-Soiree. Co-organiser & participant w/W. Fry. Series of bi-monthly events. PNA HQ NJ, New Brunswick, NJ. July-Dec., 2007.
  • Brutesthletics 1. Co-organiser & participant w/T. Rusotti (Institute of Aesthletics) & W. Fry. Two events. Rutgers University, New Brunswick, NJ. May 12, 2007.
  • Professor Aristotle's All-Star Aquatic Ovulations Cabaret. Co-organiser and performer w/ D.B. Edwards, W. Fry, E.F. Waterfowl, A. Oliver, &R. Chaloner. Dartington College of Arts, Devon, UK. March 20, 2007.
  • Gravy Salon. Participant in collective event instigated by D.B. Edwards & W. Fry. Dartington College of Arts, Devon, UK. March 18, 2007.
  • Brut Salon. Regular participant in collective events instigated in New Brunswick, NJ. From Feb., 2007.
  • Morphemic Clamour. As performer w/ W. Fry (organiser), B. Chriss, & M. Blafas. Rutgers University Gallery, New Brunswick, NJ. Feb. 7, 2007.
  • Papery Head Bother. (organised by D.B. Edwards.) As performer. Poetic event/recording. Dartington College of Arts, Devon, UK. Nov., 2006.
  • Gravy. (organised by D.B. Edwards.) As performer. Dartington College of Arts, Devon, UK. Oct. 2006.
  • Itinerant Mirror 5. Co-Organizer & Performer w/N. Waldbaum, D.B. Edwards, and K. Wynne. Including collaborations w/ B. Chriss, R. Chaloner, and K. Karpilov. King Ludd, Exeter, UK. Sept. 13, 2006.
  • Itinerant Mirror Cabaret 4. Co-Organizer & performer w/N. Waldbaum, D. Edwards, and O. Asciano-Reale. Including collaborations w/ W. Fry. King Ludd, Exeter, U.K. May 28, 2006.
  • Itinerant Mirror Cabaret 3. Co-Organiser & performer w/N. Waldbaum, D. Edwards, and K. Wynne. King Ludd, Exeter, U.K. April 23, 2006.
  • Itinerant Mirror Cabaret 2. Organized event with N. Waldbaum, D. Edwards, and O. Asciano-Reale. King Ludd, Exeter, U.K. March 26, 2006.
  • Dada = Fluxus. Served as organizer and “captain” of Dada team for regional performance event by one.c. Devised and/or performed approx. 10 pieces including both original and Dada pieces. South Brent Town Hall, Devon UK. March 11, 2006.
  • Itinerent Mirror Cabaret I. Co-Organizer & performer w/K. Wynne and N. Waldbaum in commemoration of 90th Anniversary of Cabaret Voltaire; performed 25 pieces including work by H. Silva and Etc. King Ludd, Exeter, U.K. Feb. 5, 2006.
  • Fluxconcert. (organised by R. Hunter.) Participated in Fluxconcert presented in conjunction with Art’s Birthday celebration, performing work by E. Andersen, J. Mac Low, Y. Ono, K. Friedman, A. Knowels. Dartington College of Arts, Devon, UK. Jan. 17, 2006.
  • Anti-Cabaret. Organizer & performer. Eight events. Dartington Hall Estate, Oct. 2005- Jan. 2006.
  • Bearded Synapse Cabaret. Co-Organizer & performer B. Chriss, W. Fry, and E. Panzeri. Readings by Lindsann, Chriss, Fry, Panzeri; John M. Bennett, Edward Lense, Robert Inhuman, Joshua Seyfreid. Keruac Cafe, Columbus, OH. Aug. 5, 2005.
  • Anti-Art Massacre. Organiser & participant. C.o.N. Headquarters, Columbus, OH. Sept. 18, 2004.

Other Performance Events as Organiser
  • BarBarBarian Trifectum. Co-organiser w/W.Fry & C. Wellington of themed programme of readings & film. Oromancer, New Brunswick, NJ. July 25, 2009.
  • High Noon. Co-organiser w/T. Butkovic & W. Fry of 8-hour line-up of music, comedy, & poetry. Oromancer, New Brunswick, NJ. May 24, 2009.
  • Aesthletics/Panel Discussion. Co-organiser w/W.Fry of Chair Jousting tourney. (main event organised by T. Russotti & M. Clippenger.) The Dirty Dirty, Brooklyn, NY. March 14, 2009.
  • Roanoke Marginal Arts Festival. Coordinator, Ubu Roi and Post-Neo participation. Roanoke, VA. Feb. 20-23, 2009.
  • Be Blank Consort. Co-organiser w/W. Fry & T. Butkovic. Artichoke's, New Brunwick, NJ. Nov. 8, 2008.
  • Artichoke's Kickoff. Co-organiser w/W. Fry & T. Butkovic. Multimedia event involving R. Weaver, K. Faist, R. Bingham, K. Doerrer, & show curated by Spudnik Press. Artichoke's, New Brunswick, NJ. Sept. 27, 2008.
  • International Post-NeoAbsurdist Festival. Organizer w/W. Fry of festival w/19 writers, artists, & theorists from three countries. Oromancer, New Brunswick, NJ. June 1-July 2, 2008.
  • Fiddlesticks. Co-curator w/T. Berg & W. Fry of 5 group exhibitions featuring local and international artists, w/weekly performances & events. Lost & Found Gallery, New Brunswick, NJ. Feb. 23-May 10, 2008. (Individual performances listed below under Devised Performances.) Curated visual artists include: A.Andrews, J.M.Bennett, T.Berg, M.Blafas, J.Bruno, B.Chriss, L.Corea, S.Dolnak, D.B.Edwards, S.Granett, b.b.Grimm, D.Hartke, A.Lennard, J.Leftwich, E.Lennard, C.Olson, A.Reed, &C.Whalen.
  • The Long Goodbye. Co-organiser & performer w/ R. Chaloner & D.B. Edwards. Installation-event. Dartington College of Arts, Devon, UK. Dec. 15, 2006.
  • Last Great Anti-Annual International Anti-Annual All-Devon Anti-Contra-Realist Post-NeoAbsurdist Anti-Festival. Organizer w/D.B. Edwards & performer. Devised and performed 16 related events over three days. Dartington College of Arts, Devon, UK. Sept. 28-30, 2006.

Published Books & Tracts: Sole or principal Author
  • Scores by Olchar Lindsann. 13 pp. Fluxpress. April, 2010.
  • Anachronism as Dissent. 12 pp. mOnocle-Lash. Feb., 2010.
  • Carmen Pro Pleroma: A Brief Treatise Concerning the Invocation of Yog-Sothoth. 15 pp. mOnocle-Lash Anti-Press. Nov., 2009.
  • Cipher & Military Carp. Online chapbooks. VUGG Books. 2007.
  • The Ecstatic Nerve. 343 pp. mOnocle-Lash Anti-Press. 2007.
  • Puking Trolley: Love Songs of the Leper. 38 pp. Luna Bisonte Prods. 2007.
  • Cheating Art History: Strategies in the Fight Against Modernism. 10 pp. mOnocle-Lash. June, 2007.
  • Profanity Poems. 18 pp. mOnocle-Lash. April, 2007.
  • Flayed Men. 6 pp. mOnocle-Lash. Dec. 2006.
  • Toward a Breathing Text: The Art of Madness: Insanity as a Creative Act. 12 pg. mOnocle-Lash. Dec. 2005.
  • Ghoul. 10 pp. mOnocle-Lash. 10 pp. Dec. 2005.
  • otidna/andinto. TLP in response to I. Engine's 'And Into'. 8 pgs. Luna Bisonte Prods. 2005.

Published Books: Multiple Authors, Anthologies, Etc.
  • Appreciation/blurb for It's Only Po-Et-Ry and I Like It by Peter Ganick. White Sky Books. April, 2010.
  • Exquisite Crypt 2. w/W. Fry, D.B. Edwards, E.F. Waterfowl, A. Oliver, R. Chaloner, T. Butkovic, B. Chriss & M. Blafas. mOnocle-Lash. March, 2010.
  • Appreciation/blurb for Vol. V of Remove a Concept by Peter Ganick. White Sky Books. Nov., 2009.
  • Critical introduction/afterward to revised Ed. of Doubt by Jim Leftwich. Blue Lion Press. Oct., 2009.
  • SARK srun+ SLOTD. w/J.M. Bennett & Serse Luigetti. 8 pp. Luna Bisonte Prods. Aug., 2009.
  • sr nt. w/J.M. Bennett. 8 pp. Luna Bisonte Prods. Aug., 2009.
  • Visual Poetry in the Avant Writing Collection. (anthology) ed. John M. Bennett. Ohio State University Libraries, 2008.
  • Automatic Volatile Blot. w/R. Altemus, J. Leftwich, J.-P Kervinen, J.M. Bennett, A. Genusa, A. Topel, & J. Kendall. 12 pp. Tonerworks Press. Nov., 2008.
  • Incense Trivial Disintegrating Helix. w/R. Altemus, J. Jeftwich, J.-P. Kervinen, J.M. Bennett, & J. Kendall. 8 pp. Tonerworks Press. Oct., 2008.
  • My Kimono Book. w/C. Mehrl Bennett & others. Luna Bisonte Prods. 2008.
  • Dossier inédito de poesía visual norteamericana. 3 pieces included in special issue of Cuban online journal Desliz. July, 2008.
  • Secret Histories of Rutgers' Underground Artists. w/W. Fry. 8 pp. mOnocle-Lash, Sept. 2007.
  • Nobody Go Anywhere: Stay Home Make Art. w/W. Fry & SPART Action Group. Published simultaneously in Northern Ireland and the U.S. 9 pp. SPART / mOnocle-Lash. July, 2007.
  • Book. (anthology) ed. A.A. Jones & M. Leahy. w/M. Ensslin, M. Greenwood, A. Reed, A.A. Jones, & P. Zeal. Dartington College of Arts. May, 2007.
  • Exquisite Crypt 1 (anthology.) As editor and contributor. 24 pp. mOnocle-Lash. April, 2007.
  • The Myopic Deathray and Other Tawdry Conflagrations. w/ b.b. Grimm. 16 pp. mOnocle-Lash. Feb., 2007.
  • Lung Crackle. (anthology, ed. Warren Fry.) 16 pp. mOnocle-Lash, Feb. 2007.
  • The Lidless Daintily Tongue/A Gossamer Guillotine. w/E. Panzeri. 12 pp. Appropriated Press. Nov. 2003. 2nd Edition (Revised) published under mOnocle-Lash, Sept. 2006.

Journal Publications (excluding Synapse & Appropriated Press)
  • Special Feature on Post-NeoAbsurdist Anti-Collective, documentation, texts, & interview (w/B. Chriss, W. Fry, & D.B. Edwards) by Michael Peters. Word for/Word #16 online journal, ed. Jonathan Minton. Posted March, 2010.
  • On Fun. Transmission #3. SPART Action Group, Northern Ireland. May, 2010.
  • Make it Home, Not Art. with W. Fry. Transmission #2. SPART Action Group, Northern Ireland. 2007.
  • Toward a Breathing Text. Sponge Pudding #4. one.c, England. Jan., 2006.
  • 25 visual or verse poems and short manifestos published in journals beginning 2004 in Barm (NJ, ed. W. Fry), Desliz (Cuba, ed. L. Monica) Hat (Canada, ed. R. Priddle), The Idiot's Manifesto (Ohio, ed. R. Icon), KUH[n] (NJ, ed. T. Butkovic), Letter Founder (Maine, ed. J. Kendall), The Lost & Found Times (Ohio, ed. J.M. Bennett), One Big Cookie (Ohio, ed. N. Solsman), Sponge Pudding (England, ed. K. Wynne), Star Fish (Canada, ed. R. Chrysler), Transmission (Northern Ireland, ed. J. McKeown), and Word for/Word (US, ed. J. Minton,

Publications, as Editor
  • Synapse 4. (journal) Editor & contributor. 56 pp + distro inserts. mOnocle-Lash, Nov., 2009.
  • Synapse 3. (journal.) Editor & contributor. 52 pp + 60 min. Sound Supplement, stickers, posters, inserts. mOnocle-Lash, Feb., 2007.
  • Synapse 2. (journal.) Editor & contributor. 56 pp + 80-min. Sound Supplement. mOnocle-Lash. Aug., 2006.
  • 11/11. (anthology.) Editor & contributor. 11 pp. mOnocle Lash. Limited edition of 11 copies. Dec. 2005.
  • Synapse 1. (journal.) Editor & contributor. 56 pg. mOnocle-Lash. Nov. 2005.
  • Antiglobe. (anthology.) Editor & contributor. 120 pp. in four volumes + 100 min. Sound Supplement. Appropriated Press. Sept., 2005.
  • Laugh Clump. (reissue) Editor& poetic forward to re-issue of Crabb Murlock’s 1928 edition. 48 pp. Approprited Press. Sept. 2005.
  • Myth: Digestion and Renewal. (anthology.) Editor & contributor. Companion book to gallery show (above) curated by B. Chriss. 24 pp. Approppriated Press, March, 2005.
  • The Appropriated Press. (journal) Editor & contributor. Nine issues from Aug. 2003- Nov. 2004.

As Performer: Performance Poems, Actions, Readings, and Musical Sets
  • Narcoleptic Squirrel Automaton Take 7. w/T. Butkovic, W. Fry, & Lexoe (Alex Fiory). Performed premier of simultaneous poem by T. Butkovic. Mason Gross Gallery, Rutgers University. New Brunswick, NJ. April 1, 2010.
  • Don't You Fucking Smile. w/W. Fry & T. Butkovic. Performed premier of simultaneous poem poem by D.B. Edwards at the 3rd Annual Roanoke Marginal Arts Festival. Community High School. Feb. 14, 2010.
  • Participated in premier of Inlaid Stoic Roadbed, oratorio for trumpet and voices, by Billy Bob Beamer at the 3rd Annual Roanoke Marginal Arts Festival. Community High School. Feb. 14, 2010.
  • Song for the Bride of the Leper King. Performed bruitist poem as part of the third annual Roanoke Marginal Arts Festival. Community High School, Roanoke, VA. Feb. 13, 2010.
  • 2nd Annual Marginal Arts Parade. w/W. Fry, T. Butkovic, & J. Mathews. Participated in DIY community parade organized by R. Eaton. Roanoke, VA. Feb. 13, 2010.
  • 20-minute set of a-capella noise / bruitist poetry alongside Jack Callahan, Panther Modern, & Joe Ruck. Oromancer, New Brunswick, NJ. Dec. 17, 2009.
  • Huntington Poetry Club. Participant in bi-weekly readings. New Brunswick, NJ. Oct.-Dec. 2009.
  • Song For the Bride of the Leper King. 20-min. set at 'Labor Day Noise' show alongside M. Concave, Lexoe, Hollow Man, & Panther Modern. Grind Central Station, New Brunswick, NJ. Sept. 7, 2009.
  • Now That's Entertainment. Action w/W. Fry & J. Mathews. The Waterpod, New York, NY. Aug. 15, 2009.
  • Le Morte d'Arthur. 25-min. reading from Sir Thomas Mallory's text at BarBarBarian Trifectum event. Oromancer, New Brunswick, NJ. July 25, 2009.
  • Encyclopedia-Salesman Sketch. Vaudeville routine w/W. Fry at Nigh Noon event. Oromancer, New Brunswick, NJ. May 24, 2009.
  • 2009 Roanoke Marginal Arts Festival. Readings and performances w/ W.Fry, T. Butkovic, E. Damerow, M. Blafas, B. Chriss, & J. Mathews. Feb. 21-22, 2009.
  • Be Blank Consort. Guest performer w/group, & solo performance of Tzara's White Giant Leper of the Countryside. Artichoke's, New Brunwick, NJ. Nov. 8, 2008.
  • Rape Van. (A. Andrews & M. Cooper.) Guest performer for musical set. International Post-NeoAbsrdist Anti-Festival, Oromancer, New Brunswick, NJ. June 22, 2008.
  • Set of electronically distorted and manipulated vocals with N. Hallam. International Post-NeoAbsrdist Anti-Festival, Oromancer, New Brunswick, NJ. June 21, 2008.
  • Plane. Performed Huelsenbeck score at International Post-NeoAbsrdist Anti-Festival. Oromancer, New Brunswick, NJ. June 14, 2008.
  • Beowulf. (w/W. Fry) Simultaneous reading of passage from Beowulf in Old and Modern English. Oromancer, New Brunswick, NJ. June 14, 2008.
  • Ballyhoo. (w/W.Fry & T.Butkovic) Reading of poems by David Beris Edwards. Lost & Found Gallery, New Brunswick, NJ. April 12, 2008
  • Prayer for the Poison-Child. Phonetic poem; and Medicinal Poems (by T.L.Taylor, H.Ball-Rat, D.B.Edwards, and others) performed w/W.Fry & T.Butkovic. Lost & Found Gallery, New Brunswick, NJ. March 13, 2008.
  • The Disappearance of Imogene Engine. Reading of Engine's work as part of Fiddlesticks series. PNA HQ, New Brunswick, NJ. March 8, 2008.
  • Bosch on Ice. Co-organizer of 'Hell' & performer. Protec Hockey Rink, New Brunswick, NJ. March 1, 2008.
  • 2008 Roanoke Marginal Arts Festival. Readings and performances. Feb. 2-3, 2008.
  • Be Blank Consort. Guest performer w/group. Bowery Poetry Club, New York, NY, Nov. 7, 2008.
  • Camberwell Arts Festival / London Bienniele. 2 poems and remote-collaborative piece w/ Post-Neo Syndicate as part of one.c. Area 10 Project Space, London, England. July 1, 2006.
  • One Night Stanza. Set of performance poems in support of main set by Mike McGhee. Barrel House, Totnes, Devon. June 28, 2006.
  • Synapse 2 Launch. Organized and participated in Anti-Reading w/D.B. Edwards, Alan Reed, Amy Oliver, and others. Dartington College of Arts, Devon. June 27, 2006.
  • Whip 6. Noise set w/N. Hallam. Dartington College of Arts, Devon. June 26, 2006.
  • H.P. Lovecraft Festival. w/N. Hallam. Electronically manipulated phoneticthulic poems. King Ludd Bookshop, Exeter, Devon. June 22, 2006.
  • Whip 5. Reading from unpublished manuscript Galatea. Dartington College of Arts, Devon. March 6, 2006.
  • one.c Goes to the Cavern. w/N. Waldbaum. Performed poems by Lindsann and J. Bennett, including collaborative piece, on program w/ Low Profile, N. Rose, L. Yeates, M. Greenwood, K. Wynne, R. Chaloner, N. Waldbaum, D. d’Emilia, D. Paranyushkin, Vatican X-Ray Dept., The Toretz, Dirty Protest, Freaks Union. Cavern Club, Exeter, Devon. May 14, 2006.
  • Concourse. Served as ambasador of the Post-NeoAbsurdist Movement in the premier of D. Edwards’ Contrarealist play The Drastically Unequal Distribution of Lizards. Dartington College of Arts, Devon, UK. March 10, 2006.
  • Whip 3. Completed action. Dartington College of Arts, Devon. March 6, 2006.
  • One.c Goes to Exeter. Performed four poems at event with Sponge Collective, Liam Yeats, Ula Daijerling. King Ludd, Exeter, U.K. Jan. 21, 2006.
  • Set of 7 bruitist and phonetic poems by Lindsann, Huelsenbeck, Ball, & Fry on programme with R. Inhuman, M. Concave, Ultra//Vires, & the Wild Gunmen. Art Damage, Cincinnati, OH. Dec. 21, 2005.
  • Whip 2. Performed Richard Huelsenbeck’s “Plane”. Dartington College of Arts, Devon, UK. Oct. 31, 2005.
  • Concourse. Debuted phonetic poem, Prayer for the Poison-Child and various unannounced pieces. Dartington College of Arts, Devon, UK. Nov. 25, 2005.
  • Whip 1. Performed Phonetic Poem. Dartington College of Arts, Devon, UK. Oct. 31, 2005.
  • Set of performance poems on programme w/ Jessica Rylan & Three-Legged Race. Charles Mansion, Lexington, KY. July 29, 2005.
  • Thrash Poems and Other Questionable Forms. w/Catharsism of Narcotica. Cincinnati Fringe Festival, Cincinnati, OH. June 2 & 9, 2005 (Official Band of the Cincinnati Fringe Festival).
  • Hymn to Dionysius. Phonic Poem performed in support of Auk Theatre. BLD, Columbus, OH. April 2, 2005.
  • Orphic Ode. 25-minute Phonic Poem. Jung House Gallery, Columbus, OH. April 2, 2005.
  • Dissemination. w/B. Chriss & A. Andrews. Simultaneous poems. Keruac Cafe Gallery, Columbus, OH. March 25, 2005.
  • Brutal Cincinnati Damage Festival. w/Catharsism of Narcotica. Set of thrash-poems & improvised simultaneous poem w/ B. Chriss. Mockbee Gallery, Cincinnati, OH. Jan. 29, 2005.
  • Learn to Time Travel NOW. w/A. Andrews. BLD Studios, Columbus, OH. Oct. 9, 2004.
  • 2 Performances w/Catharsism of Narcotica. Cincinnati Fringe Festival, Cincinnati, OH. May 13-19, 2004.

  • Mr. Squibbles Shows some Films. Screening of five short films w/E.Lennard, A.Lennard & C.Lennard. Lost & Found Gallery, New Brunswick, NJ. April 12, 2008.
  • Ubu Roi. w/ Angee Lennard, Emilie Lennard, Chriss Lennard. Full-length treatment of Alfred Jarry script. 110 min. Appropriated Press. Sept. 2005.
  • U.S. Premier. Cara Bar, Columbus, OH. Dec. 27, 2005.
  • U.K. Premier: Dartington College of Arts, Devon. March 28, 2006. A. Reed’s Golem screened during intermission.
  • Red Square Film Festival. Contributor w/C. Lennard. “Mr. Squibbles Goes to School.” Cincinnati Art Museum. March 8-9, 2003.
  • Pheonix. w/Robert Inhuman. Video Poem. Madlab Theater, Columbus, OH. Jan. 12, 2003.
  • Gestation of An Anti-Idea. w/Catharsism of Narcotica. 40-minute film shown on loop at Re:Pete:The Novel.
  • Catharsism of Narcotica. 10 song (all silence) Cassette Demo LP. Oct., 2002.
  • 5 Short Films shown at opening of Re:Pete:The Novel, Nov. 11, 2002.

Released Sound Work/Albums
  • Compulsory Bingo. w/Chris Lennard. Full-length album of music & text. 60min. mOnocle-Lash. April, 2008.
  • KUH[n]. (DVD journal, ed. T. Butkovic.) Contributor, video poems. Feb., 2008.
  • Balmy Slots. Album written by D.B. Edwards. Performer. Nov., 2006.
  • Synapse 2 Sound Supplement. Editor & contributor. 80 min. mOnocle-Lash. Aug., 2006.
  • Hrach Rioke Bull Colle. w/anonymous collaborators. 60 min. MOnocle-Lash. Jan. 2006.
  • Feral Pool. (album.) Sonic Poetry. 72 min. mOnocle-Lash. Dec. 2005.
  • Ubu Roi: the Soundtrack. w/ Two-Sheds Nellson. Soundtrack to video Ubu Roi. 105 min. Aug., 2005.
  • Laugh Clump. 20-minute album of parasitic sound-texts recorded and released in conjunction with publication of Murlock’s Laugh Clump (above). Sept. 2005.
  • Sound and Performance Poems. 25 min. demo. Jan. 2005. Expanded to 15 pieces, 52 min. in June 2005.
  • Appropriated Press Sound Supplement. Editor & contributor. 40 min. Appropriated Press. Nov., 2004.
  • Hrach Rioke Bull Colle. 22-minute single-track bruitist album recorded w/anonymous collaborators. Appropriated Press. Nov. 2004.
  • Fast, Clean, and Reliable. w/Catharsism of Narcotica. 70 min. Appropriated Press. May 2004.

As Performer: Dramatic Work & Puppetry
  • Ubu Enchained. Co-produced/directed/designed/acted production of Jarry's play (w/ W.Fry, T. Butkovic, E. Damerow, M. Blafas, B. Chriss, & J. Mathews ) as part of Roanoke Marginal Arts Festival, Roanoke, VA. Feb. 20-22, 2009.
  • Herodiade. Played Herodias in Mallarmé play directed by A. Reed. Oromancer, New Brunswick, NJ. June 14, 2008.
  • Orpheus. Played Orpheus in play written & directed by Alan Reed. Oromancer, New Brunswick, NJ. June 14, 2008.
  • Mossdale Estates. Adapted comic by Angee Lennard to short puppet play. Performed w/W.Fry. Lost & Found Gallery, New Brunswick, NJ. March 13, 2008.
  • Second Celestial Adventure of Mr. Antipyrine. w/ Itinerant Mirror and others. Organized and performed clandestine production of play by T. Tzara. Dartington College of Arts, Devon. June 21, 2006.
  • Dust & Deity. Wrote, produced, directed, acted 20-minute puppet play; constructed 15 puppets, six costumes, approx. 800 sq. ft. of sets. Beaton Hall, CCAD. April 14-18, 2002.

As Performer: Selected Street Actions, Interventions, Anti-Adverts, Etc.
  • Anti-Advertisement. w/ A. Reed and D. Edwards. Conceived & performed Anti-Advert for Contracting the Yellow Sign. Dartington College of Arts, May 23, 2006.
  • Anti-Carols. Street Performances w/ W. Fry. Columbus, OH. Dec. 25, 2005.
  • Unannounced Bruitist advert for Bearded Synapse Cabaret. w/W.Fry, B.Chriss, E.Panzeri. High Street from Blake Ave. to 14th Ave., Columbus, OH. Aug. 5, 2005.
  • Galatea. Unannounced action- sealed letters dropped through mail-slot over three-month span. Jung House, Columbus, OH . March-May 2005.
  • Time is of the Essence! Altered postcards mailed to various people. Feb., 2005.
  • Request to Chicago Art Institute to Credit Panel of Exquisite Corpse to Olchar E. Lindsann. Feb., 2005.
  • not LOST: DOG. Placard-Poem. Posted in area of Hudson + High St., Columbus, OH. Nov. 6, 2004.
  • Opportunity Zone. w/Catharsism of Narcotica. Street action at Artists for Change event, Fountain Square, Cincinnati, OH. Oct. 1, 2004.
  • Anti-Art Revival. Uninvited manifestos. High St. + 2nd Ave., Columbus, OH. Sept. 4, 2004.
  • Reflexive Poems. Small poems/designation-machines dropped in public places. Ongoing.
  • Request to Columbus Museum of Art to Credit “James Ensor’s The Assassination” to Olchar E. Lindsann. July, 2004.
  • Surprise! 30-second long guerilla exhibition at the jurying of the Greater Columbus Arts Council. Downtown Marriot Conference Room, Columbus OH. April 16, 2004.
  • Bomb France Next. w/A. Andrews. Posted throughout Columbus, OH. May, 2003.
  • Conflict of Interests. Guerilla Street Performance, Columbus Museum of Art, Columbus, OH. March 6, 2003.

  • Guest Lecturer, Bergen Community College. Lecture/Demonstration on asemic writing, the Eternal Network, sound poetry, and Fluxus for approx. 20 students. Paramus, NJ. May 8, 2010.
  • Flux-Tour. Co-organized tour of historical Fluxus sites in New Brunswick, NJ. w/W. Fry, T. Butkovic, & G. Hendricks. New Brunswick, NJ. April 18, 2010.
  • Workshop on Mail Art, Performance Poetry, and Fluxus. w/J. Leftwich, K. Buchholz, G. Huth, W. Fry, & T. Butkovic. Community High School, Roanoke, VA. Feb 15, 2010.
  • From Poetic Declamation to Performance Poetry: Voicing Poetry Through the 19th Century. Lecture at 3rd Annual Roanoke Marginal Arts Festival, with readings of texts by Coleridge, Carroll, Hood, Poe, Jarry, & Mallarmé. Community High School, Roanoke, VA. Feb. 14, 2010.
  • Guest Lecturer, American University. Lecture/Demonstration on asemic communication through correspondence art and performance poetry for approx. 45 students. w/demonstrations by W. Fry, B. Chriss, J. Mathews, & T. Campbell. American University, Washington, D.C. Sept. 10, 2009.
  • Experimental Poetry workshop. w/ J. Leftwich, R. Altemus, T. Butkovic, & E. Damerow. Community High School, Roanoke, VA. Feb. 23, 2009.
  • Radish Art vs. the Babelonian Empire. Advisor in debate between W. Fry. & Miss Ricketts. Oromancer, New Brunswick, NJ. June 7, 2008.
  • What the Fuck is Post-NeoAbsurdism? Lecture & powerpoint presentation w/W. Fry &E.Damerow. Lost & Found Gallery, New Brunswick, NJ. May 10, 2008.
  • Experimental Poetry Workshop. w/ J. Leftwich. Community High School, Roanoke, VA. Feb. 4, 2007.
  • Panel disussion on experimental poetry w/J.M. Bennett & T.J. Anderson. Roanoke Marginal Arts Festival, Roanoke, VA. Feb. 2, 2008.
  • What Isn’t Post-NeoAbsurdism. Anti-Lecture / Demonstration w/ D.B. Edwards & Amy M. Oliver. Dartington College of Arts, Devon, UK. Sept. 28, 2006.
  • Contracting the Yellow Sign. Parasitic Anti-Lecture. Dartington College of Arts, Devon, UK. May 23, 2006.
  • Rabbits, Tea, and the Fall of the Roman Empire. Pataphysical Mini-Lecture given at Itinerant Mirror Cabaret. King Ludd Bookshop, Exeter, Devon. April 23, 2006.
  • Ubu Roi. Introductory Pataphysical Lecture at U.K. Premier of Post-Neo film of Ubu Roi. Dartington College of Arts, Devon, UK. March 28, 2006.
  • The Bruitist Poem & Micro-forms in Dada Poetics. Dartington College, Devon, UK. March 13, 2006.
  • Simultaneous Lecture. With W. Fry & B. Chriss at U.S. premier of Lindsann’s Ubu Roi. Cara Bar, Columbus, OH. Dec. 29, 2005.
  • Analytical Psychology and Experimental Poetry and Art. Roundtable discussion w/B. Chriss & W. Fry. Jung House Gallery, Columbus, OH. April 9, 2005.

Permanent Collections
  • Olchar E. Lindsann Collection. Ohio State University Rare Books & Manuscripts Division, Avant Writing Collection. Continually updated collection of all published, recorded, and documented works from Aug. 2005.
  • Post-NeoAbsurdist Collection. Ohio State University Rare Books & Manuscripts Division, Avant Writing Collection. Set of publications, albums, and video dating from 1998-2005 in permanent collection. Continually updated collection of publications, recordings, and other material relating to the Post-NeoAbsurdist Anti-movement. from Sept., 2005.
  • SUNY Albany, Dept. of Special Collections & Archives, Geoff Huth papers: otidna/andinto collected.
  • Textimagepoem Archive, Jim Leftwich. Hundreds of pieces of mail art and collaborative pieces archived.
  • Dartington College of Arts: Synapse, The Ecstatic Nerve, and other publications held in permanent library collection.

Exhibitions (as contributor)
  • A Sound Exhibition. Pamphlet Secret Histories included in exhibition curated by M. Peters. University at Albany Library, Albany, NY. March-Nov., 2009.
  • 3-D. Co-curator (w/A.Lennard, W.Fry, & T.Butkovic) and contributor. Project initiated by Spudnik Press, Chicago. Oromancer Gallery, New Brunswick, NJ. Sept., 2008.
  • Post-NeoAbsurdist Solidarity Show. (Curated by J. Leftwich & R. Eaton.) Contributor. Water Heater, Roanoke, VA. June, 2008.
  • A.Da. 92 International Post-NeoAbsurdist Exhibition. Co-curator (w/W. Fry & T. Butkovic) & contributor. The Oromancer, New Brunswick, NJ. June-July, 2008.
  • Something Like Spit. (Curated by R. Weeks.) Contributor of collaboration w/Alan Reed. The Exchange, Penzance, Cornwall. May 14-20, 2008.
  • Public Pages. (Curated by M. Leahy.) Contributor. March 27-April 8, 2007.
  • The Grand Exhibition. Co-curator (w/D.B. Edwards) & contributor to 1-day Post-NeoAbsurdist exhibition as part of 2006 Post-Neo Anti-Festival. Dartington College of Arts, Devon, UK. Sept. 30, 2006.
  • Synapse 2 Launch. Curator & contributor to exhibition of visual work from Synapse 2. Dartington College of Arts, Devon. June 27, 2006.
  • Myth: Digestion and Renewal. (curated by B. Chriss.) Objects & performances. Jung House Gallery, Columbus, OH. March-April, 2005.
  • Downtown Toward Democracy. Contributed collaborative piece w/Aaron Andrews. SkyLab, Columbus, OH, w/locations in Cleveland and Cincinnati. Sept. 24, 2004.
  • Group Show. Mad Lab Theater and Gallery, Columbus, OH. May 8-15, 2004. 4 pieces exhibited.
  • Actively Inducing Boredom. Contributor & co-curator w/Catharsism of Narcotica. Warehouse Gallery, Columbus, OH. Nov. 11-22, 2003.
  • Re:Pete:The Novel. Contributor & co-curator w/Catharsism of Narcotica. CCAD Student Gallery, Columbus, OH. Nov. 11-21, 2002.
  • The Milk of Paradise. Solo Exhibition, installed with set and puppets from Dust & Deity. Beaton Hall, CCAD, Columbus, OH. April 13-19, 2002.

Radio Broadcasts
  • Fob, Slop, Lymph and A Bean: The Miraculous Post-NeoAbsurdist Anti-Hour. Hour-long programme for WFMU of Post-Neo sound poetry, documentation, and music. As contributor & co-editor. Aired on WFMU, 91.1 FM, New York. June 28, 2008.
  • Broken Words. (ed. Hannah Silva.) Sound poetry played regularly on experimental poetry radio programme. Soundart Radio, 87.7 FM, Totnes, England. Dec. 2006-Jan. 2007.
  • Soundart Radio 87.7 FM. on experimental/sound art/community radio station in Devon, UK. From Dec. 2006.
  • Featured guest on Experimental music programme & collaboration with R. Inhuman. Art Damage Radio, 88.3 FM, Cincinnati, OH. Dec. 22, 2005.
  • Sonic Poems in rotation. WFMU, 91.1 FM, New York. Starting Aug. 2005.
  • Entomelodical Radio. (ed. Irene Moon.) Sonic Poems in rotation on experimental radio show on WRFL 88.1 FM, Lexington, KY. June 2005-Spring 2006.

Selected Texts and Other Work Available Online (also see online Journals)

Blogs as Contributor

textimagepoem. host Jim Leftwich. Approx. 250 images & texts from Aug., 2005.
Post-NeoAbsurdist Anti-Collective. co-host and contributor from Feb., 2008.
Blog Journal. host Peter Ganick. 12 poems from Feb., 2009.
The Title We Just Forgot... host Jaan Patterson. 7 poems from April, 2009.
weeimage. host marco Giovenale. 1 piece from Aug., 2009.
mOnocle-Lash blog. host O. Lindsann. Essays & updates from Nov., 2009.

Reviews/ Discussion in Interviews.

Review of 2011 MArginal Arts Festival and Panel Discussion moderated by Lindsann. Roanoke Star-Sentinel. March 10, 2011.
Interview by Michael Peters in PNA Special Feature. Word for/Word #16 (ed. Jonathan Minton). Feb-March, 2010.
Reference in review by J.M. Bennett of Geof Huth's Longfellow Memoranda. In Galatea Ressurects blog-journal. Issue #12, May 20, 2009:
Review by Geof Huth of performance poem, Dec. 29, 2008:
Interview of Jim Leftwich, Aug. 29, 2008:
Review by Linda Cleary of Something Like Spit exhibition, May 22, 2008:
Review by Warren Fry in The Brooklyn Rail of Be Blank Consort performance, Dec. 2007:
Review of chapbook Puking Trolley by Bob Grumman, Aug. 21, 2007:
Interview of David Beris Edwards, Sept. 2007:
Review by K. Wynne & P. Davies in Sponge Pudding No. Six of performance at one.c Goes to the Cavern Club. May 14, 2006.
Review by Melissa Starker in Columbus Alive of Re: Pete: The Novel: The Exhibition. Nov. 14, 2002.