Book Preview of Pickles & Jams

"Environmental Foam," Pickles & Jams

The Church, The School, The Beer (2007, Critical Documents)

Giving Tongue (2003, Assembling Alternatives: Reading Postmodern Poetries Transnationally, ed. Romana Huk, Wesleyan University Press)

When I was 4, my dad read me poems at bedtime. I heard a staple diet of Lewis Carroll and Edward Lear for two following years. It was the phonic logics of these poems that repeatedly drew me in; a hovering between song and poem. Their quirky iambic cadences which hinted at conventional meanings, without appearing to deliver them, snared me.

Reading and Writing: the Sites of Performance (2009)

from "Reading and Writing: the Sites of Performance," (Vol. 3, No. 2 ed. Sophie Robinson); HOW2, an inquiry into modernist and contemporary innovative writing practices by women.

Performance Writing began as an explicitly pedagogical enquiry in 1994 at
Dartington College of Arts, initiated by poet John Hall. Its formative
departmental Director between 1995 and 2000 was Caroline Bergvall.
Performance Writing tried to provide a handle on emergent practices that
made work through contesting productive tensions “between” the terms
writing and performance. It sought to destabilise oppositions “between”
the ephemerality of performance and the fixity of print, often doing so by
exploring trans-generic writing in hybrid media and sites. In 2004
Performance Writing, the academic course, ceased to exist.

Bob Cobbing's Performances: Production and Circulation of the Text (2012)

Journal of British and Irish Innovative Poetry. Canterbury: Glyphi, 2012. Volume 4, Number 2.

Bob Cobbing produced and circulated texts as poet and artist and publisher for sixty years. Many of his own texts, and their performances, were collaboratively authored and or collaboratively interpreted. Performances of production and circulation for poetry for him did not at all rest only with the non-reproducible live event, but his understanding of the dynamics of the live increasingly informed and influenced all aspects of poetic production and circulation for him. That is, Cobbing’s extension of performances for the production and circulation of poetry gradually widened through his life to include all acts and aspects of composition and definitions of publication.

AMODERN 2: Network Archaeology

text-sound at the Cornershop in Buffalo 1997

Notes on Distance No Object

between 1996-9 your author made three small web works. The last of the three “how can this hum be human” exploited streaming audio and explored the glitch was made for a now defunct e-zine edited by Jennifer Ley called Riding the Meridian that is nicely archived on the web at Heelstone. The middle piece was a substantive crowd-sourced web text-image hypertext produced live as an online circadian performance response to hopes and fears generated by the New Labor general election of Tony Blair in the UK on Mayday 1997. The link to that archived work disappeared at some point in the past eighteen months. The earliest piece of these three is the one I’m going to focus on today, residing as it happily does on the Electronic Poetry Center for which it was made.

Bob Kaufman's E-Corpse

"4 docks" from Asemic Writing: The New Post-Literate



"Exhibiting Text Works"

"Squat" from White Swan (1986)

Some Books: L=A=N=G=U=A=G=E (January 1981)

Some Books: L=A=N=G=U=A=G=E (January 1981)

"Root & Flight" from A Present (Bluff Books, 1980)

A reading for SubVoicive at the Rainbow Cafe.

CRIS CHEEK, KIRBY MALONE, MARSHALL REESE : TV TRIO present CAREER WRIST for the International Festival of Disappearing(s) Art(s)

L=A=N=G=U=A=G=E (October 1979)

"Why don't we just do it with our voices?": a moment in time with cris cheek & Chris Goode

The Place of the F (Lute) Oot in C (Alt.) Ure

from Poetics Journal Digital Archive

Local: Note - International: 'Quote'

A Listing of British Small Press Magazines compiled by cris cheek for L=A=N=G=U=A=G=E (June 1980)