In June '99 I and a hundred or so others (teachers, poets, poet-teachers) gathered at Bard College for a conference on the possible connection between experimental poetry and experimental pedagogy, hosted by Joan Retallack among others.There must have been about six or seven of us from the Writers House at the conference and on the last morning of the three-day confab (there on the slopes leading down to the eastern side of the Catskills-region Hudson, it did at times feel like summer camp) we presented about the Writers House itself as an alternative learning community focused on poetics.
We promised ourselves we'd do some kind of followup at KWH, and did in early 2001. Joan Retallack came down from Bard, reading some of her own poetry that seemed more relevant to the them (alt-poetry, alt-pedagogy), and then Kerry Sherin, then the KWH Director, described a transition to the next and longer part of the program: a discussion, as a follow-up to Bard, about actual pedagogical issues and practices. There were about forty of us in the room there at the Writers House, in addition to about thirty who were tuning in by live webcast. Louis Cabri, for instance, was in Calgary - and participated by posing some questions.
Just yesterday Jenny Lesser converted the old RealVideo format into audio-only mp3, which of course these days is a much more usable, portable mode.
Here's Kerry Sherin setting up the discussion, by, in part, remembering the Bard conference.Here's 9 minutes or so on experiential learning.
Here's a discussion of what makes it hard to teach experimental writing.
And here's a link to the whole 2-hour audio mp3, and, for your video fans and users, still, of the Real player, here's a link to the streaming video.


"I teach horizontally, meaning that while I might begin with a fixed idea of what I'm going to teach that day, I let it drift rhizomatically way off topic, often pulling it back when it gets too far. I rely on non-fixed materials to teach this way; the whole world is at my fingertips. Should I go off on a tangent about John and Rauschenberg and their love relationship as expressed in Rauschenberg's bed, an image of that bed is always a click away. From there, we can head anywhere into the non-fixed universe, be it film, text or sound. And of course, that always takes us elsewhere. As Cage says, 'We are getting nowhere fast.'"
that anyone has yet got the imaginative measure of that terrifying day six years ago. Certainly our Tolstoy has not crawled out of the rubble. The closest we have, Don DeLillo, succeeded as an essayist-journalist ("In the Ruins of the Future: Reflections on Terror and Loss in the Shadow of September,” Harper’s, December 2001) but, to my mind, failed as a novelist ("Falling Man"). One reason, perhaps, is that the remembered emotion was instantly buried under a pile of cultural junk.' - Tod Gitlin in his review of Susan Faludi's The Terror Dream (written for
