Fair Budget Fair: Tomorrow & Sunday

Posted on January 15, 2011 by wolachd

Please feel free to join us Jan 15-16 for the first annual Fair Budget Fair at The Eagle’s Hall, all afternoon and evening on the 15th and 16th. Talks, performances, and readings will occur throughout the day and night, with full schedule available at the OlyBlog. I’ll be reading/performing with Elizabeth Williamson Saturday Jan 15 at 630pm, and several members of our performance research ensemble will be contributing work throughout the two days.

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The Theater of Cruelty Handbill by Rik Kedziorski (and the State of California)

Posted on January 14, 2011 by wolachd

For those interested, or for those who feel like they are struggling with this week’s writing prompt, here is more Artaud, from the same book, Theater and Its Double, the Preface (not required reading – just FYI):

http://artsci.wustl.edu/~marton/Artaud.html

And here is former student Rik Kedziorski’s “The Theater of Cruelty Handbill”

RELEASE AND WAIVER OF LIABILITY AGREEMENT

I, ______________________________________________ (“Participant”), acknowledge that I have voluntarily applied to engage the artistic vision of ________________________________________________(“Artist”).

I AM AWARE THAT THIS WORK OF ART IS HAZARDOUS AND THAT I COULD BE SERIOUSLY INJURED OR EVEN KILLED. I AM VOLUNTARILY PARTICIPATING IN THIS WORK WITH KNOWLEDGE OF THE DANGER INVOLVED, AND AGREE TO ASSUME ANY AND ALL RISKS OF BODILY INJURY, DEATH OR PROPERTY DAMAGE, WHETHER THOSE RISKS ARE KNOWN OR UNKNOWN.

I verify this statement by placing my initials here:________________

Parent or Guardian’s initials (if under 18):_____________________

As consideration for being permitted by the Artist, the State of California (“State”), the County of __________________________(the “County”), and any lessor of the theater premises (“Lessor”), to participate in these activities and use the theater premises and facilities, I forever release the Artist, the State, the County, the Lessor, any affiliated artists or organization, and their respective directors, officers, employees, volunteers, agents, contractors, and representatives (collectively “Releasees”) from any and all actions, claims, or demands that I, my assignees, heirs, distributees, guardians, next of kin, spouse and legal representatives now have, or may have in the future, for injury, death, or property damage, related to (i) my apprehension of this piece, (ii) the negligence or other acts, whether directly connected to this piece or not, and however caused, by any Releasee, or (iii) the condition of the premises where these activities occur, whether or not I am then participating in the piece. I also agree that I, my assignees, heirs, distributees, guardians, next of kin, spouse and legal representatives will not make a claim against, sue, or attach the property of any Releasee in connection with any of the matters covered by the foregoing release.

I HAVE CAREFULLY READ THIS AGREEMENT AND FULLY UNDERSTAND ITS CONTENTS. I AM AWARE THAT THIS IS A RELEASE OF LIABILITY AND A CONTRACT BETWEEN MYSELF AND THE ARTIST, THE STATE, THE COUNTY, AND THE LESSOR, AND SIGN IT OF MY OWN FREE WILL.

PARTICIPANT/RELEASOR Signature  _____________________________

Address:______________________________________________

IF YOU ARE UNDER 18 YEARS OF AGE, YOU AND YOUR PARENT OR

GUARDIAN MUST SIGN AND INITIAL THIS FORM WHERE INDICATED.

If Signed by Parent or Guardian: I verify that the dangers of the theater and the significance of this Release and Waiver were explained to the Participant and that the Participant understood them.

PARENT OR GUARDIAN  ________________________________

Address:__________________________________________________

Executed at _____________, California on ___________________ , 20__

CFSA release & waiver form (rev. 2006 (rev. 2011))

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Two Invites: Day of Absence/Day of Presence Invitation & Trans/Gender Nonconforming Support Group Invitation

Posted on January 13, 2011 by wolachd

The DOA/DOP committee invites you to participate in the Project Intersections of Identity: Reflections on Race, Community and self

A creative writing and visual arts exhibit and anthology project.

Theme:

In an effort to support the ongoing work of making multicultural discussions safe to have on campus, we are sponsoring a series of workshops to collect different written expressions on Race and identity. To participate, all you have to do is come and submit a piece.  You can also submit a piece if you cannot come to one of the scheduled workshops.

Express your ideas regarding your identity and/or sense of community in the context of Race and Ethnicity. Participants can also choose to express themselves in any way they wish as long as the theme of Race and/or Ethnicity remain in the forefront. Poetry, story etc.

Who can participate?

Past and present TESC community members (Any staff student or faculty or alum) are welcome to participate.

There are many ways to participate:

1. You can create a piece solely for yourself

2. You can choose to enter your piece in our February show at TESC

3. You can participate in the public reading at our opening reception

4. You can choose to put your piece on our website.

5. You can also choose to join a self-publishing opportunity on LULU (on-line self-publishing). We hope to get everyone’s pieces together in a book that they can buy themselves on-line.

Submission guidelines:

-1 typed page or shorter emailed to Salinasr@evergreen.edu

-We would also like to include a simple photograph of the author, we can take one if the author does not have one.

Background:

Beginning in 1994, students began to collect art, mostly in the form of the written word, from students, staff and faculty of color and publish them in yearly collections called the Student of Color Anthology.  It began as an activity from the First Peoples Advising Services office and grew to become sponsored by students forming a campus student group.  We have not had an anthology like this come out in a very long time. We thought that this would be a good year to get another collection of writing from various community members.

Sponsored by:

The Day of Absence and Day of Presence committee and First Peoples Advising Services.

Questions?:

Email or call us at 360.867.6462 Or check out our website by visiting us at:  www.evergreen.edu/multicultural we are located at TESC: 2nd floor Library, 2153

Scheduled Workshop times:

-1st workshop: Monday at 3pm, January 10: B2105: Suzanne Simons

-2nd workshop: Wednesday at 3pm, January 19: Presenter and space TBA

-3rd workshop : Tuesday at 6pm, January 25: Primetime, A-dorm

Deadline

Friday: January 28, 2011

—————-

TRANS/GENDER NONCONFORMING SUPPORT GROUP – INVITATION:

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Update: FYI, Docile Bodies Found Online

Posted on January 11, 2011 by wolachd

Thanks to Nur, we have an online link for the Docile Bodies chapter from Foucault’s Discipline and Punish  It’s   HERE and STARTS ON PAGE 146. Thank you for pointing this out, Nur!

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Week 2: Reading for Weds, Books to Order, Writing Prompt

Posted on January 10, 2011 by wolachd
Hi All,

[IMPORTANT NOTE: I sent each of you who have registered an email with this info, plus links/reminders about the books to purchase asap - please check your EVERGREEN EMAIL - that's where I'll be sending things. If you have yet to register and plan to do so, email me so I can forward you what I sent ]

Great work Saturday. Good discussion for the first week! This has been emailed to your Evergreen account as well. Below this writing prompt I’ve typed up (what I gave you verbally on Sat) are links to poem-images–so please read the whole message. The main reading for this week is attached as pdf in your email message (3pp, excerpt).

–Please remember that you should be sending me your “architectual” poems: the 10 line poem plus a short description of the architectual space you chose to take notes on.
–Artaud Writing Prompt: Pick one of the numbered aspects of the “living theater” or “theater of cruelty” that Artaud gives us in the reading we did–e.g. “lighting” or “the set” etc–and use the ideas about your chosen aspect as a springboard for writing a piece (up to 2 hours of writing, 1 hour of editing) that is philosophically violent, that speaks to the theater of cruelty, i.e., enacts a writing of cruelty. Think about the form of your writing and how your attempt at shaking us out of a particular complacency might function. How to maximize your writing in an Artaudian sense? Where costumes, lights, music, language and so forth, are all large and exaggerated, anti-realistic, “monstrous forms.” What writing can you make that in form is Artaudian? That is, what would a written-textual-poetic “translation” of Artaud’s ideas look like? And how might it be of social value in the way Artaud writes of–bombarding the senses and awakening in us the long-sleeping sense of the possible, the magical, the unconscious, etc? So play with those ideas for your text arts experiment this week. IT’S DUE FOR NEXT SAT (sent to me as attachment by then and brought to seminar/workshop), so you have time to think about these questions and re-read the Artaud if need be. Have FUN with this (um, in a serious sort of way)!
–Readings, Week 2 (to supplement and complicate the main readings of Week 1):
1) Liz Grosz (attached as pdf and sent to you as email)
2) Kaia Sand, excerpted page of Remember to Wave  HERE (B/W, larger image)
3) Kaia Sand, excperted page of Remember to Wave  HERE (Color, smaller image)
4) BELOW: after my framing of these readings/images is an excerpt of discussion on “spatial” poetries by David Berridge, curator of Very Small Kitchen (where the excerpt comes from)–a very cool website of related materials…
FRAMING THESE READINGS:
The work by Kaia Sand and the artists mentioned below–the links here–can be said to represent the interests of work by those interested in making the invisible forces of the city acting upon the body and shaping the body–the commodification of Marx, for example, or the 4 “arts of distribution” in Foucault–visible again (which means making PEOPLE and their treatment visible again) through the poetic/artistic. Two links (one color/one bw) are from the inside of Kaia Sand’s wonderful book, Remember to Wave. Below is a short blog entry from a very fine poet and researcher who writes on the history of the poetic reclamation of spaces by the author’s bodily interruption and artistic analysis of that space. The pasted writeup below provides a very short but fascinating rundown of some central ideas in this regard, and so helps contextualize Sand’s work. Hopefully it will also help us see connections between this work and Artaud: that with Artaud we have a theater that wants to function as a philosophical (social and political) violence, shaking us out of our disciplined slumber, waking us so that we may gain some painful recognition of the brutal control mechanisms of “polite” (colonial) societies, and that similarly, Sand and others are interested in a shaking-us-up, but the strategies for how to do this, and the mediums, are very different. Remember to Wave is many things, but it is one contemporary instance of a sort of “spatial” or “investigative” poetry: the body’s sensory, perceptual, and cognitive (through historical research) interfacing with a particular place–the built environment–and its histories as well as potential future(s). How the body affects the space and how spaces affect us, our bodies. In this case the place is Portland, and the investigation is the multiple “invisible” histories of Portland’s Japanese internment centers. Links plus pdf amount to a few short printed pages.
from Very Small Kitchen:

I have also been gathering a number of books and materials which offer methods and examples for [Very Small Kitchen]. The first is a gathering of texts around the idea of “documentary poetics,” including works by Mark Nowak, Kaia Sand, and Brenda Coultas. Sand’sremember to wave , for example, begins with the following statement of method:

How do I notice

what I don’t notice?

How do I notice

what I don’t know

I  don’t notice?

Inexpert, I

notice with the attention

and drifting inattention

of poetry

Inexpert, I

investigate

Inexpert, I

walk, and walk.

Such texts offer a variety of methods for how poets can approach the complexity of places, then represent those texts in written form. Developing the poetics of Charles Olson, the poet-songwriter Ed Sanders, for example, has suggested a model of the poet as an historical scholar, working through all forms of documents, experience, and information, transforming them into “High Energy Verse Grids” or “Data Clusters”.

Kristin Prevallet, adapting Olson/ Sanders methods into her own practice, has suggestively summarised this position as follows:

The poet is a researcher, investigator, interpreter, singer, and prophet who engages in an active relationship with the political, social, and cultural forces around him or her. The poet is a manifesto-creating, opinionated, ranting, perpetual surveyor and tireless investigator of history. The poet is busy creating verse grids out of whatever materials are present before him or her at the time: the poet is an appropriator of sources, a thief of facts, a collage-creating scoundrel in a hyper state of awareness and inspiration. Flowcharts, newspaper articles, photographs, etymology, and ethnography become the raw materials for the poet’s unique assemblage. (115-116)

The Poet Brenda Coultas, meanwhile, adapts for her own writing the notion of “public character” in Jane Jacobs classic study of urban planning, The Death and Life of American Cities. Coultas writes:

Jacobs defines a public character as the person on the street who knows everyone and whom everyone knows; this person serves as the eyes on the street, and thus lends cohesion to the community and serves to prevent crime… So I began to think about the possibility of leaving the anonymity of the page and becoming a public character, that is, a public poet. (11)

How does public character apply to the project in West Bromwich? To working with an archive of texts?

The Wayward Plant Registry, Brixton Village Tree Drop-Off Shop, 2010

…and another useful statement of poetic-investigatory-documentary method from the poet-film maker Abigail Child:

Someone is thinking/ speaking to herself. Analyzing beat of energies, of digression, remembering. Memory and this question: What is the relation between narrative and history, between art and memory? Articulate the relation between witnessing/ events and speculation/ fiction. An attempt to see how issues of biography and history are neither represented nor reflected but are translated, reinscribed, radically re-thought. History as a translation, through which is created new articulations of perspective. Acknowledge the conceptual and social prisms through which we attempt to apprehend. (248)
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