Wednesday, January 22, 2014

[State of the Language] "Thirteen Notes on 'New Writing' in Ashland in August 13"


“Thirteen Notes on ‘New Writing’ in Ashland in August 13”




[State of the Language]

1.      : Why do we need to need it? Can’t we just want it?
2.      : Lyric poetry is the gold standard. Facebook is the lyric self.
3.      : The market ability of uselessness. Art buys and sells attention.
4.      : A consumer provider in this semiotic market.
5.      : All art forms are discoveries discourses. Poetry as a discourse.
6.      : Reassuring. I too feel. Not everything is for everybody.
7.      : All poetry is fiction. 3 bananas. You are only the people you know.
8.      : Narrowcasting. Broadcasting. Poetry grows by division.
9.      : Genre is a room in a museum. If a committee likes it, you’ve reached too many people.
10.  : A medium is a mode of engagement. Red lemonade. Encountership.
11.  : The point of poetry is no longer the object. It is the platforms.
12.  : From the means of distribution to the means of fabrication.
13.  : I’m interested in the kernel of the indigestible real. Hot stuff in a cold vessel.
14.  : Reading of voltage in a poem. Where is our attention drawn.






Amsterdam, The Netherlands
Wednesday, January 22, 2014

Tuesday, July 23, 2013

"Stand Your Ground"

In a state of Florida, a
Marissa Alexander is not a George Zimmermen.
She is a Trayvon Martin, this
Marrissa Alexander.

Wednesday, March 6, 2013

2 Poems in *Horror Sleaze Trash*

"That's a Bitch of a Romance"
"The Affair"
http://www.horrorsleazetrash.com/poetry/nicholas-karavatos/


NOTE: The third stanza of "The Affair" had line placement on the page that was altered in this printing, giving it all a justified left margin. But so it goes. On my Tumblr page, I have formatted the text of the third stanza as it should have appeared: http://nicholaskaravatos.tumblr.com/post/44701258510/stanza-three-of-the-affair-as-it-should-have

Friday, February 15, 2013

3 Poems in *Sukoon*

"Traitors are Translators," p.34
"Nooh," p.41
"(The Story of Our Romance?) She Dreams of Me and then Writes:" p.42
http://www.sukoonmag.com/responsive/
http://sukoonmag.com//responsive/wp-content/uploads/Issue-1-01.pdf



From the Editor: Sukoon is an Arab-themed, English language, online literary magazine reflecting the diversity and richness of the Arab world.

Friday, August 24, 2012

2012 Helsinki Poetics Conference: Monster - Poetry in the Age of Terror


August 25–26
Annantalo Arts Centre, Annankatu 30, Helsinki, Finland
1:30 p.m. Sunday Sessions: “The Poetics of the Monstrous in Theory and Practice
(chair Teemu Manninen)

 
TITLE:
“Frankenstein’s Techno-Dada: The Hilarious Monstrosities of Flarfism”
ABSTRACT:
In the aftermath of 9/11 even the New York poets waxed lyrical and narrative, two of the most forbidden concepts of the 20th century avant-garde. Most poets, but not all, and not just in the USA but also Latin America and Europe, too. Enter Flarfism, a technophile composition method spread by the Flarflist Collective that is the “first recognizable [literary] movement of the 21st century,” whose practitioners challenged acceptable notions of The Author in ways that Dr. Frankenstein challenged acceptable notions of The Creator. “That body … has never lived. I made it with my own hands from the bodies I took from … anywhere” (James Whale, 1931) is Dr. Frankenstein describing the Flarf Method: “…entering outrageous and/or inappropriate word combinations into the Google search engine and making poems out of the results, then emailing them around to each other. Lines from the emailed poems could then be reworked in equally outrageous and/or inappropriate ways and sent around again for further recombining” (Sharon Mesmer).  Like Dr. Frankenstein, these poets were “doing what one is ‘not supposed to do’ [and their] poems … were … hilarious monstrosities” (Gary Sullivan). To paraphrase Conceptual poet Kenneth Goldsmith on language appropriation, why should Dr. Frankenstein conceive new bodies when there are so many bodies already lying around to be reanimated? Dr. Frankenstein could be talking here about dead language in the graveyards of cyberspace: “[It’s] just resting. Waiting for new life to come.” Both Flarf poets and Dr. Frankenstein use “all the electrical secrets of heaven” to create; Flarfism’s so-called “Google-sculpting” is Dr. Frankenstein’s “chemical galvanism” and “electro-biology.” How does the mob respond? Flarfism “must be found. Light your torches and go,” declared the Burgomaster (of Literature). “You have created a monster and it will destroy you,” warned Dr. Waldman. Like Dr. Frankenstein “know[ing] what it feels like to be God,” hence killing God, Flarf’s recombinant poetry also killed The Creator/Author by murdering the Myth of Creativity/Authorship. “There [it] is. The murderer.” Poetry made from the discarded language of society shows us of what we are really made. “Shoot it. It’s a monster.” This mob, yearning for the pastoral, is the voice of Lyric Poetry After Auschwitz, the men with torches who burn the Monster Flarf in the old mill. But if they read Flarf through the eyes of Little Maria, would they not see that Farf, too, is daisies tossed into a pond? If they listened to its music, would they not hear, too, that Flarf is the Blind Man’s violin? “When the voice of the Internet spoke to me,” wrote Gary Sullivan, “it was vulgar (naturally), surprisingly ‘poetic,’ and in almost every poem it told a kind of story.” Though Flarfism pulls the lever of self-destruction (James Whale, 1935), the spirit of the artist survives rejuvenated: “Flarf Is Dead; Long Live Post-Flarf” (Sharon Mesmer).


AUTHOR:
1.      Nicholas Karavatos, M.F.A.
Department of English, American University of Sharjah, United Arab Emirates

Monday, April 9, 2012

PHOTOS: "TRACE: An Art Dubai / Traffic Gallery Collaboration" - 2012.3.22

"Give Me Space" is a ten minute Intermedia Spoken Word Performance by Nicholas Karavatos accompanied by Matt Zytkoskee on guzheng. Nick & Matt will perform at the CIRCLE around 10:00 p.m.

TRACE is an Art Dubai and Traffic collaboration curated by Rami Farook at Fort Island, Madinat Jumeirah, Dubai on Thursday 22 Mar 2012, 8.00 pm - midnight. Last entry 9.30 p.m.

TRACE is an evening that combines words, music, video and performance. Its intention is to reflect on ‘the art world’ in a self aware, absurd and critical manner.

Originally inspired by Marina Abramovic’s philosophy of ‘nothing to sell but memories’, this concept was pushed forward by concerns of ‘a present evasive’, a detour from the ‘what’s next?’ to the ‘what’s now?’ and a contradictory recent investigation that is being labelled the ‘post–contemporary’.

With a direct connection to the context of this evening (Dirty Thursday / Art Dubai / Fort Island), TRACE combines the various, yet evolutionary symbols of the word as an indication of the existence or passing of something, the physical change in the brain presumed to be caused by a process of learning or memory as well as the procedure to investigate the source of something.

TRACE contributes to Art Dubai via an evening of cultural commentary in the eyes of a collector, curator, artist, mentor, publisher, critic or patron. The 20+ ‘traces’ will be sampling imitation, enhancement, auditions, existence, change, expectations, knowledge, hype, success, space, applications, oppression, humor, possession, dilution, theft, ego and confessions, before ending it with a party.