To begin ...

As the twentieth century fades out
the nineteenth begins
it is as if nothing happened
though those who lived it thought
that everything was happening
enough to name a world for & a time
to hold it in your hand
unlimited.......the last delusion
like the perfect mask of death

Monday, March 20, 2017

Murat Nemet-Nejat: from “Animals of Dawn,” with an Essay on “Hamlet & Its Hidden Texts: Poems As Commentary”

            Bait & Switch    
                        "Polonius: What do you read, my lord?"

the sculpture                                                    
of the night—

in the morning

words words   words left                                  

over the melting                                              

dew (the pickpocket).                                      

Ghost was the sculptor of the dream,
itself a sculpture. 

absolute love may not exist but is everywhere    

maybe not kind                
maybe not nice                 

but is everywhere.

infinite love precedes its happening



Mom says she and I in hatred are each others' its, objects that love melts into rain.

                                                             the stars were on the sidewalk    
                                                             as if at the prophet's coming       
                                                             because it had drizzled the night before
                                                             dizzy like a cloud, i left the house      
                                                             skipping, skipping on the stars
                                                             pleased as punch in the moonlight
                                                             playing hopscotch
                                                             as at the prophet's coming         
                                                             because it had drizzled the night before


through your transparent gown,                            
low light from a table lamp in the back room.  
your long legs                                                            
were luminous in the door.
i moved fearlessly.             
guilt hung back
on the acacia trees
in the rain.
the church bells were calling folks                  
to prayer.
we spread a picnic blanket        
on the bed.
that's how everything happened first.


"Not a mouse's stirring" 

the crumbs of the clock spilled from
curtains, as the night
ended, light in smithereens                               
slowly in the eyelashes of my cat dispersing
over the rug.
Who’ll pick them up
now, the leftovers
from the shuttle worriless humming on.    

Morning streamed from the hair
of the widow,
sprinkles of the clock and light.
opened my hands, but as I opened them       
they still kept streaming streaming streaming.

wall. ghost. mirror. bird. arras.           
window. wind. widow. tree.
dew. water. tears. river.
painting. panting.
death. hearth,


"Horatio: The morn, in russet mantle clad, walks o'er the dew of yon high eastern hills."

"So dawn goes down to day.
Nothing gold can stay. " Robert Frost

the corrupt weaponries of language.

            To Be Too Much In the Son  

"Though yet of Hamlet our dear brother’s death
The memory be green, and that it us befitted
To bear our hearts in grief
                                            (and our whole kingdom
To be contracted in one brow of woe,

...yet...  with wisest sorrow... together

with remembrance of ourselves... 

yada yada yada!)

Have we
                   (as ’twere with a defeated joy,

With an auspicious/dropping eye


Taken to wife")

yada yada yada! 

                            "nor have we herein barred
Your better wisdom, which have freely gone
... along."

yada yada yada!


An Image of Death
                 what we call the world is merely the illusion of the nearnes of things.
                 what we call the world is only the image of the nearnes of things.

The audience's eyes: Claudius, Gertrude, Polonius, Laertes, Hamlet are on stage, simultaneously. They'll all be dead in two hours.

Laertes asks the king leave to leave for France

Time is forgetfulness in Hamlet. Everyone forgets though protesting otherwise (including the ghost, "Remember! Remember!" he pleads from under the claptrap  truepenny machinery of Elizabethan stage—representing the underworld—to a joking Hamlet), the most cutting of all Hamlet forgets Ophelia.

            Return to France

                        Laertes: My thoughts and wishes bend again toward France

An unquenchable loss over something once possessed—not life, but something else, peace of silence, or love, or the night itself—which to recover one must cross a reverse threshold—warping into a parallel dimension—looms over the play.   

Facts are jailed into themselves.        

Death is jailed into itself.

            think it   

                              "Hamlet: Seems, Madam, no is. I have that within me
                              That passeth show..."   

to be it, does it have to exist?                
god is it, whose essence, is non-existing.            

sofas, beds, the hysterical archdukes of MY psyche.


what is man?
man is a what

a rose is a rose a
rose is.



Infinite possibility doesn't mean freedom, but that it may happen infinitely
but of maybes

Infinite possibility, within finality

that is the pharosrhythm perception of freedom     
as gestures of maybes    


object ivities in a mirror existing

in continuum.



Before we part  did                                    
A moment we share together 
you having placed a small nutrient vial of translucent liquid on your porch
and I, watching birds dipping into them

you away,

                 in instantaneous darts.

Does THAT have to exist? I can't remember. D I D.        

An instant on the threshold of not remembering, the change of time zones— erasure of the table of memory—the humming bird approaches the moment of stasis—of jump.


            Memory and Rhythm—a Rhythm of Forgetfulness—Insanity

    Shakespeare seems to forget what happened from one scene to the next in Hamlet, seems to suffer a kind of dementia, giving the play its purposeless bursts of focus, meandering—a genius democratically and at random dispersed among the characters—giving it its seductive, ever alluring air of translucent insanity. Its irresistible entropy.

Polonius: Marry, sir, here’s my drift:
(And I believe it is a fetch of wit)
You, laying these slight sullies on my son
As ’twere a thing a little soiled i' th' working—
And then, sir, does he this, he does— What was I about to say? By the mass, I was about to say something. Where did I leave?
Videlicet a brothel, or so forth. See you now,
Your bait of falsehood takes this carp of truth...  (Act 2, Scene 1) 


    Memory has a great difficulty crossing the threshhold of dawn. A self-propelling time has to move forward, as if a completely forgotten dream is still brooding in the bones.



            The ghost
            's kissed by the morning
            & turns into a frog

            in the soul.

    The sun has a different rhythm than stars, though in the frame of eternity the same. Time moves at different speeds in each. The walled-in ecstasy of Scene 1, "swift as the meditations of love," is followed by the objective view of Hamlet as moody, irrational or insane—his meandering, exploring metaphysics on suicide, instead of revenge, and his churlish obscenities.

Except while encountering the ghost, at night, Hamlet lives, his being is, in the wrong space.

The play Hamlet is out of control.

Scenes follow each other in obstructive rhythms, failing in, inhibiting the play's linearity of purpose. The Macguffin of revenge. Two temporal cadences are superimposed.

            trapped outside time, "[the] Messiah allows time to be continually deferred."         (The Burnt Book)

            Delay is a ray

            from unreal-  


Hamlet and Its Hidden Texts: Poems as Commentary, Film Lumière

Hamlet is the holy text that is at the heart of a day book/ things, real or unreal, objects, living or un-living. Almost every piece in the poem is a commentary—a riff of thought, a speculative argument, a parallel alternative text, a counter argument or counter fact—turning around a specific word or phrase, a disjointed twisting of fact or a suggestive, elusive echo that occurs in the peripheries of the reader's/listener's mind—out of the focus of the linearity of the main action, the revenge, in the play.

    The paradigm of a text made completely of commentaries, like moths flying around a holy text with its own distinct linguistic identity, is The Talmud Here is what I write about the nature of such a text in "Eleven Septembers Later: A Reading of Benjamin Hollander's Vigilance":

            Precedents of Prophecy (Film Lumière)

            The verbal precedent of a poem whose ideal condition is stasis is The Talmud. In it single words explode into commentaries. It can not be read but     stopped at every word and riffed from; re-read continuously, super-imposed,             blurred commentaries creating the Jewish consciousness of responsibility and        guilt....  The visual precedent of Vigilance is photography... The space created by             photography/ film lumière has an unconscious, to its viewer reflecting,       revealing the dreams, aspirations, fears of her teeming population. Superimpositions of different media—film, T.V., the web and words emanating from them—on photography, which film lumière is, creates a unified    field/space which is prophetic.

    The perennial question on Hamlet is why Hamlet does not go from A to B in a linear line, "swift as the meditations of love" or, as Laertes does, "defying hell"; but meanders, mostly travels in a world of ideas, and arrives at his purposed destination, seemingly by default, exhausted, feeding on the immediate carnage around him. He does so because he exists in stasis, in "a ... field/space which is prophetic." The sole action he can commit is death. It is the space where consciousness (the soul) is born. It has nothing to do with character or a character defect though Hamlet himself thinks so.

    Hamlet's is a language of the soul progressing towards dying.

    Hamlet's language is not of acting, of showing; but of an "isness" outside "living" speech: "Seems, madam? Nay, it is. I know not seems... nor all the suspirations of breath... can denote me truly." His focus is on a dissolution of the body towards the un-human and un-living: in essence the dissolution of a Wittgensteinian language of exchange and observable, speakable f(acts) towards silence. This dichotomy in the play is distilled in its concept of time as speed and slowness, their duality. Hamlet is aware and fatally wounded by what Claudius defends: speed, the imploding speed between the vigil of death and the merriment of marriage, warping time. Hamlet "meanders" outside speed in a state of stasis, though he himself sees it as paralysis. The two are irreconcilable. Though they point to the same facts, like convex and concave mirrors reflecting each other, the wall in between is unbreachable. That unbreachableness (the way the consciousness of the living, the real, the rational can not breach into the consciousness of the un-living, unreal) is at the heart of Hamlet's mysterious power, what makes it a holy text.

    Ophelia occupies a space between the two. Her death, a union with water and plants, points to a moment when the focus of the conscious mind (consciousness itself) turns from life to another dimension (vigil) of lamentation and song: "... Her clothes spread wide/ And, mermaid-like, awhile they bore her up;/ Which time she chanted snatches of old tunes,/ As one incapable of her own distress [italics my own]."


    Laertes' and Polonius's warnings to Ophelia about the unreliability and lastingness of Hamlet's love for her turn out to be true. Hamlet's love turns into abuse and mockery, interspersed only with an unpleasantly perfunctory profession of love at her death. But, though the predicted result occurs, it has little to do with Polonius's cynical view of young passion or Laertes's decorous argument relating to the real politic involved in the marriage of a prince. The cause lies in another dimension, the space of the ghost.

    The a-causal, infinite space of Hamlet.

    A Day Book is not a comparison, a metaphor; it is not like Hamlet. Rather, its Talmudic commentaries are against Hamlet, subverting and reconfirming its autonomic, ever elusive sanctity--its otherness. In a sense, in A Day Book I try to transform Hamlet, at least for a single moment, into a plant, an animal, a speck of dust, a dew.  

    Not a moment of understanding, but bee-ing.

Friday, March 10, 2017

"The Rare Recordings of Pauline Oliveros, Jerome Rothenberg and More": An Interview with Charlie Morrow

[Originally published on Bandcamp Daily at, along with a description of five newly re-released recordings.]

New Wilderness Audiographics, a US-based label founded by 75-year-old composer/poet Charlie Morrow, hasn’t released music for over three decades, but the label has just unloaded digital versions of 40 rare, mostly unknown cassettes. Originally recorded and released in the 1970s and early ’80s, the astonishing collection features music by such luminaries as Pauline Oliveros, Phil Corner, and Jerome Rothenberg. These works—many of which were recorded in the same high-quality, on-site studio—cover broad stylistic ground, including everything from conceptual improvisations and process-based Indonesian gamelan performances to wild vocal experiments and even songs composed purely from resonating metal objects. But while Morrow dug into the past in order to digitize these cassettes for the future, his interests have always been contemporary. The label’s name, New Wilderness, is meant to signify a source of “perpetual renewal and new ideas,” and Morrow sees this digital release as an extension of his latest interests. His most recent work was a 24-hour multi-stream, multi-time-zone solstice celebration called Solstice 2016 , which featured poetry, music, and natural sound performed in planetariums and sky theaters around the world. And when Morrow‘s not organizing large-scale events like this one, he’s exploring immersive sound environments through his eight-speaker “True3D” system, and through 360 virtual reality experiences designed for the Oculus VR.

To celebrate the digital release of these original cassettes, we spoke with Morrow about his rare collection of music, his relationship with technology, and the future of New Wilderness Audiographics. We also chose five intriguing releases from the label to help ease you into this otherwise daunting collection.
I’d love to hear a bit about the early days of New Wilderness Audiographics. How did it all begin?

I built a personal recording studio in my flat on West End Avenue in the late ’60s. Personal studios were uncommon, because professional audio recording equipment at the time was challenging to set up and operate. I built the Charles Morrow Associates production company and the New Wilderness Foundation to provide income and an opportunity to grow, sharing it with my artistic community globally through production and opening up my facilities.
The recording of Jerome Rothenberg’s Horse Songs was the first step on my journey. Recording my own chanting works followed. I was performing with Jerry—still do—and with Philip Corner. I commissioned [and performed] works for trumpet and ensemble. Recording Jackson Mac Low and Philip Corner came next. The collection of masters grew. I was producing and designing concerts with the New Wilderness Preservation Band as promoter, player, and singer. Charlotte Moorman was my model.

We invited poets, filmmakers, musicians, and scientists to perform and make projects with us. The archive has all the artifacts. The productions are a roadmap of my life and interests—sound poetry, music, cross-species explorations, and events, all of them site-specific. After the Two Charlies—Ives & Morrow—Concert at Lincoln Center, I started advocating for music outside the concert hall. At the same time, I was a jingle writer, so I was both at the center of the mainstream and at the far edge of things. I specialize in situations where the sound-making fits the environment. I developed the means to make the Audiographics titles, make broadcasts, public events, all relate in spirit.

What compelled you to digitize the collection? And why now?
Nowadays, people seem to share the point of view that inspired our cross-cultural, cross-disciplinary artistic vision in the ’60s, ’70s, and ’80s. Jay Walbert, Maija-Leena Remes, and I assemble the Charlie Morrow Archive in Barton, Vermont, with the stuff of my many projects. Many people have expressed interest in having access to it. We want to maintain the full picture, the new and old exploration of language, music, and multi-site events. First, we reissued the New Wilderness Letter online at UPenn, Ear Magazine is being digitized and is alive this moment.

What do you hope audiences will get out of these digital releases?
The flavor of our community of artists that were inspired by poet Jerome Rothenberg’s Technicians of the Sacred. I hope that this 20th-century-period flavor will inspire more personal explorations of communication using new and old technologies.

Has your relationship with the music changed over the decades?
Yes. As time passes, the road in time from the first adventures until now is always growing. The technology of the time informs the recording. I have moved into composing sound environments, but I still do dream of singing. I still have a steady interest in the healing powers of sound.

You’ve talked in the past about your interest in location. Where would you locate these recordings? What do they signify to you in terms of geography or place?
Each production reflects where and when it was made. It grows out of my relationships with the artists. Artist to artist, I brought a point of view to them, to understand their vision and bring it to the recording.

You’re currently working with eight-speaker setups and Oculus VR. What interests you about immersive sound? Do you see these older cassettes as similar technological investigations?

Absolutely. We capture space as well as sound. My interest in the charismatic drew me to artists who travel in their works, travel into other dimensions. The ecstatic and the raging captured me back then. The environment captures me now. This is complete immersiveness, now and then.

Have you thought about releasing new music on Audiographics?
Yes. There are many unreleased gems from my productions and my collaborators throughout my career, from the start to the present. There are newly commissioned works in 3D from Fluxus artists. I always collaborate with artists and associates, whether they’re in their 20s or their 90s. This span in works and the audiences inspire the making of new releases.