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holes music is vibration transmitted through air to our vibration sensitive ear drums interpreted by our brains into sequences of changing degrees we call notes systems of such notes along a spectrum organize themselves into fixed relationships we call tonality recently i heard about an instrument that had been invented by leonardo da vinci the viola organista or piano cello this instrument was invented 500 years ago but wasn t built until now how many other kinds of instrumental inventions await us in the future though technically the viola organista doesn t make new sounds exactly it does permit new ways of organizing and presenting stringed music my kurzweil synthesizer acts in much the same way allowing me to play violin and guitar and choir sounds by way of a keyboard though the sophisticated nuances of each instrumental sound are severely limited classical music seems to be on a shallow decline lately as musical reproduction shifts from material to digital access symphony orchestras concert halls dance companies etc are under financial pressure as society s attention is re focused and re organized around the new internet media but the ways that musical ideas are used and reinterpreted are not limited by venues alone a movie can be a kind of symphony in sound and imagery just as the naked symphony once served as the public s official entertainment pure music once told a story too albeit one less specific and narrational they still wear wigs in the british courts of justice in a style that went out 200 years ago posted by curtis faville at 9 24 am no comments sunday november 17 2013 my favorite paris review cover 38 summer 1966 back in the days when the paris review actually represented avant garde writing they used to commission covers by important modern or post modern artists for the first 34 issues they retained a standard vertical and horizontal margin format as shown below which tended to limit the effect of the design but with issue 35 they dispensed with the margin frame a gave freer reign to the artist and this permitted the necessary space for the design to make a purer statement without the impinging edges but with issue 35 they dispensed with the side margin and by issue 36 the frame was eliminated altogether giving freer reign to the artist and permitting the space necessary to make a purer statement without the impinging edges that opened up things considerably and two issues later this design was chosen for 38 i can t say that i ve ever paid much attention to the work of jack youngerman the artist but judging from the images of his work that pop up on google images this is a fairly representative piece youngerman also works in minimalist sculpture and he s still going strong apparently at age 87 the style of the pr cover seems typical based on these images i think i would have described youngerman as an abstract expressionist just based on his age since he began to work seriously in the 1940 s when pictorial values were beginning to be shunted aside in favor of all kinds of abstraction but looking at these other images i think i d put him into a different category as his work developed he began to seem more like a decorative artist these big color images remind me of late matisse or arp not pollock de kooning or motherwell youngerman s work seems to come after abstraction tending towards suggestive representation the paris review design reminds me of icebergs floating in a big dark blue ocean the red blue and yellow piece an angel fish such suggestions are gratuitous though innocent in work like this the flat sculptures are pleasant and would fit into any modern interior design scheme they re just a bit like like stella s early linear paintings but more flamboyant and free i think i would tire of seeing very much of it but just one or two can be inspiring that s how i feel about pr 38 a real triumph of graphic design i would buy a magazine like this just for its cover but i wouldn t need that excuse here since it contains a story by james salter and poems by michael benedikt joe ceravolo and peter schjeldahl the mag had really his its stride by the mid 1960 s and would continue to be interesting for another decade or so before becoming vague and unfocused by the late 1970 s so much for nostalgia posted by curtis faville at 5 51 pm 2 comments the full moon two recipes what is it about the moon an astrological astronomical object of curiosity since before the beginning of time object of inspiration fascination speculation apprehension we know a great deal about the moon now since the advent of astronomy as a science recent theory has proposed that the moon was created from a proto earth by a giant meteor collision in which the moon was calved away throwing it into orbit around the newer smaller earth there is still widespread skepticism about this though the moon affects the tides and exerts other less noticeable affects on the earth ancients from many different cultures included the moon in their religious cosmologies and artists and poets still see it as a symbol of various kinds of metaphysical forces and tendencies of having feminine qualities for instance i think of the moon associated with night with coldness of a clarity unobscured by any atmosphere the last two nights have produced a beautiful full moon so bright that on clear nights the moonlight falling through our kitchen skylights illuminates the room enough that i can actually see what i m doing there moonlight is a little eerie and it is this faint grey illumination which has captured people s imaginations over the ages outdoors in the moonlight associated with dreams the mystery of the dark obscure occurrences so here are two new concoctions which celebrate the cold clarity and mild seductive qualities of the full moon the first is a weaker drink with a kind of evanescent crispness and sweetness which i associate with clarity of vision and thought the second has more character more complexity both should be shaken very vigorously so that as much ice fragmentation as possible ends up in the glass that crush or slush is very important to the mouth feel of the taste especially the first drink both are shaken hard and served up 3 shots dry vermouth 1 shot green chartreuse 1 shot cointreau 1 shot fresh lemon squeeze 3 shots gin 1 shot creme de cacao 1 shot mandarin napoleon 1 shot amaro 1 2 shot applejack 1 shot fresh lemon squeeze personally i don t like to drink late at night besides single malt or brandy is better for that than a cocktail which ideally comes just before dinner or during a mid afternoon lunch in the city most poems about the moon focus on some event or other scene in which the moon is just window dressing when men first walked on the moon it dispelled centuries of myth and surmise took much of the romance out of our human centered projections of it it was just an empty place of white dust airless dead and bone dry it was no place for life my own imagination of the moon always takes me back to childhood when my dad and i went camping in the woods we d sleep out on the ground under the stars looking up through the pitch black conifers at an astonishingly clear night sky the milky way and the moon shooting stars etching briefly at the edges the moon s vivid crater pocked surface posted by curtis faville at 9 51 am 1 comment thursday november 14 2013 padgett s collected poems ron padgett s collected poems has just been published by coffee house press minneapolis 2013 and it s a monstrous big collection 50 years in the making i ve been reading padgett s work for almost that long since becoming interested in poetry in high school and publishing my first poems in the high school literary magazine at 17 in 1965 i first saw his work in mimeo magazines in the late 1960 s great balls of fire holt 1969 was published during my first year at the writers workshop at iowa and i remember reading it with a mixture of curiosity and vague incomprehension the obvious facts of padgett s biography born and raised in tulsa removal to new york city study with koch collaboration with fellow oklahomans ted berrigan and joe brainard fulbright to paris french translations seemed reflected in his work the dadaist sound translations of reverdy the distinctly surrealist air of many of his poems the tongue in cheek humor and an enveloping aura of camp of pop art warhol and cultural mischief which was so much a characteristic of the art scene in those days padgett s early work had at least two separate aspects then one a kind of dumbed down simplicity and credulity which seemed to demand acceptance as honest description think william carlos williams and two a weird abstraction associated with french surrealism and the spirit of duchamp one thing seemed clear padgett wasn t a lyric poet he seemed either entirely incapable of or completely uninterested in writing musically nearly all his poems were either prosaic statements or satiric or absurdist spoofs i deduced then that his biggest challenge was in writing a poem that he wouldn t feel embarrassed by a self consciousness that fed off of insecurity and an habitual reluctance to express personal feelings conviction or sincerity seemed entirely lacking in this early work all this became clearer to me as my reading of the preceding first generation of new york school poets widened and deepened padgett had clearly followed a path blazed by his mentor koch with whom he studied at columbia koch of the original four key core members of the group ashbery o hara schuyler being the other three functioned as the clown almost nothing that koch published could be taken at face value it was obviously a kind of put on an extended joke against the traditional grain of form and pretension koch was well versed in classical literature but his pop epics and giddy frivolity seemed just for laughs padgett seemed to me then initially to have invested in this spirit of early french modernism think apollinaire satie jacob duchamp jarry artaud cocteau larbaud as a literary strategy both as a talisman of loyalty and as a protective camouflage against straightforward appraisal humor in your work might save you from being considered trivial or emotionally fragile still there were occasional early poems which in their simplicity and frankness seemed genuine and clean poulain an orange and blue box of poulain chocolate is what i think of often as i sit just outside the late afternoon sunlight i see it in another light sitting on a brown oak or something table maybe a white kitchen one and when i reach out for it my hand touches it and i pick it up from great balls of fire 1969 the poem though initially guileless and direct is actually a witty turn about the problem of representation and reality in art a branded artifact presented initially as a verifiable object from the world of experience is seen in a symbolic poetic field which is in turn pierced to obtain the actual physical object i pick it up the other light in which it is seen afternoon sunlight is the flat context the position of the speaker shifts while the object rests just beyond him until at the end he grasps it it s a small victory over abstraction and though relatively modest in intention a small miracle there was a modesty about padgett s early poetic persona perhaps a humility or bashfulness which derived from his plains roots but rather than conceal this he seems to have embraced it post publication blues my first book of poems has just been published it is over there on the table lying there on the table where it is lying it has a beautiful cover and design the publishers spent a lot of money on it and devoted many man and woman hours on it the bookstores are ordering copies unfortunately i am a very bad poet and the book is no good from toujours l amour 1976 of course nearly every book of poetry published in the united states is a publisher s loss leader a prominent bookseller once commented to me that padgett s first trade book great balls of fire had bombed leaving excess copies that were unceremoniously dumped on the remainder tables there s a certain pragmatism in using your own embarrassment as an aesthetic tool and padgett seems to have learned a good deal from his own modesty and to have figured out how to use this to his advantage once padgett had settled on camp humor as a métier he abandoned the dada ist tricks and concentrated on straightforward comedy poema del city i live in the city it s a tough life often unpleasant sometimes downright awful but it has what we call its compensations to kill a roach for example is to my mind not pleasant but it does develop one s reflexes wham and that s that sometimes though the battered roach will haul itself onto broken legs and wildly waving its bent antennae stagger off into the darkness to warn the others who live in the shadow of the great waterfall in their little teepees behind them rise the gleaming brown and blue mass of the grand tetons topped with white snow that blushes come dawn and glows come dusk silent gray wisps rise from the smouldering campfires from toujours l amour 1976 how seriously can you take a poet who s willing to front silliness like this indeed what has seriousness to do with it at all perhaps approaching the problem of honesty or verisimilitude is best conducted in an atmosphere of light hearted casualness poets who write with grave implication in every phrase every line risk sounding grim is there anything worse than trying to sound deliberately profound even if the muse is off visiting her mother there are poets who never seem to approach the page with anything less than a feeling of ultimate dread a poet like louise gluck for instance for whom every poetic occasion feels as if it were a grim and unrelentingly difficult task probably we need both kinds of poets those who would be reluctant to display any kind of levity and those who would be equally shy of being seen being upset or angry frisky the black and white terrier flexed his body in midair turned and yelped it was his birthday and he was two from you never know 2002 for me small but successful poems like this are ten times better and more useful than ambitious narrative poems of 100 times this length that require a commitment of hours of devoted attention they re never easy and they come when you least expect it and even with absolutely no effort they are like simple gifts cover art by joe brainard padgett s work seems at its best to me when he s least concerned with impressing the reader with his conviction and more concerned to share a discovery he d made many of padgett s later works are about the difficulty of trying to write decent poems that difficulty isn t writer s block but more like a secret way of sneaking into a poem or a subject so as not to disturb it not to alert it to the fact that you are stalking it because trying too hard or being too obvious about it may scare inspiration away we don t really know where...
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