The piece is called "Pause the Podcast and Dial-a-Poem": here. "The dial-a-poem concept dates back to 1969, when poet and performance artist John Giorno and his organization Giorno Poetry Systems set up a call-in recorded poetry project with ten phone lines in New York City. 'Using an existing communications system,' Giorno wrote in an introduction to a collection of featured dial-a-poem recordings, now available online, 'we established a new poet-audience relationship.' According to Al Filreis, one of the Kelly Writers House founders and the director of the Center for Programs in Contemporary Writing at Penn, comments on 6-POEM have been positive. 'The responses I've received so far typically say, 'Geez, this is so retro it's cool,'' Filreis wrote on his blog, 'and 'Everything seems to be converging on the phone,' and 'Telephony rocks.'"
Thursday, January 15, 2009
dial-a-poem in P&W
The piece is called "Pause the Podcast and Dial-a-Poem": here. "The dial-a-poem concept dates back to 1969, when poet and performance artist John Giorno and his organization Giorno Poetry Systems set up a call-in recorded poetry project with ten phone lines in New York City. 'Using an existing communications system,' Giorno wrote in an introduction to a collection of featured dial-a-poem recordings, now available online, 'we established a new poet-audience relationship.' According to Al Filreis, one of the Kelly Writers House founders and the director of the Center for Programs in Contemporary Writing at Penn, comments on 6-POEM have been positive. 'The responses I've received so far typically say, 'Geez, this is so retro it's cool,'' Filreis wrote on his blog, 'and 'Everything seems to be converging on the phone,' and 'Telephony rocks.'"
"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 
