We have a couple very short video-readings to attend to this week, to keep us alive within (and outside of) our own poetic-performative writings, to keep adding layers of what is possible to the final writing projects each of us are working on. These are very short because too many of you–your collaborative groups–are behind in the writing.
Folks should have a full draft of collaborated final projects done by the end of this week. For that to happen we’ll need really “roll up our sleeves” this week.
1) Video 3 min. See note below. Electronic Disturbance Theater/B.A.N.G Lab, “Particles of Interest: Tales From The Matter Market” LINK IS HERE
2) Video 1 hr — watch as much as you can, try to watch whole video, but at least first 20 min. Electronic Disturbance/Theater B.A.N.G., “Sounding Out The Matter Market.” LINK IS HERE
3) Video 2 min. Electronic Disturbance Theater/B.A.N.G Lab, “Transporder Immigrant Tool” LINK IS HERE
4) Chris Mann, The Use. Interactive Web Text: Poetry. Play around for 10-15 min (at minimum) by pressing on one tab/button, then the next, and then another, and so forth. Find buttons that also show the prose-poetry as it is written (and scroll, text opens on right side of the web page). LINK IS HERE.
5) Text from a Reclamations blog interview with Ricardo Dominguez on one of his “virtual sit-ins,” which replaced, via hacking techniques, one web page for another–in this case if you were to call up the UC President’s homepage, you’d be seeing a page supplying you with directions to UC tuition hike sit-ins and other UC-wide protests of UC’s labor and management policies. Text excerpt from the interview is pasted here:
Zach Blas: On March 4, 2010, during the mass student protests sweeping across many University of California campuses and the US, the b.a.n.g. lab led a virtual sit-in in solidarity with these protests against the University of California Office of the President. Could you describe what this action entailed and its legal ramifications? Why, considering that you have led previous virtual sit-ins against various institutions within the UC system, did this particular one instigate an FBI investigation of yourself, the b.a.n.g. lab, and the threatening your tenure?
Ricardo Dominguez: Well, the Transborder Immigrant Tool was already under investigation starting on January 11, 2010 by UCSD (the entire group of artists working on it were under investigation); then, I came under investigation for the the Virtual Sit-In performance against the UC Office of the President (UCOP) on March 4th, 2010 (which, as you pointed out, joined the communities state wide against students’ fees in the UC system and the dismantling of educational support for K – 12 across California). That was then followed by an investigation by the FBI office of Cybercrimes. The FBI was seeking to frame the performance as a federal violation, a cybercrime, based on UCOP stating that they lost $5,600 U.S. because of the disturbance–it is important to know that the cost had to be over $5000.00 U.S. for it to be a crime. So UCOP tacked on $600.00.U.S. to push the performance into cybercrime territory. In the end, I think that the event of all the actions on the streets of California, the occupations and protests across all the UC’s by students and faculty, and the on-line actions by students and faculty created a space where they could not fail to notice its impact on multiple scales – and our work was already under investigation for TBT, the Mark Yudof resignation site that we hosted, plus the ECD gesture was just too much for the frail imaginary of UCOP.
Zach Blas: During your investigation, The Electronic Disturbance Theater’s Transborder Immigrant Tool gained much attention and criticism. Can you discuss the importance of the poetic, conceptual, and affective in this project? More generally, what is at stake for you and the group in bringing and highlighting the poetic in this form of border activism and disturbance?
Ricardo Dominguez: The Customs and Border Protection Agency’s 2009 fiscal year report documents 416 border-crossing related deaths from January to October 2009. When the Berlin Wall fell, official reports claimed that ninety-eight people in total died trying to cross from East to West Berlin. In contrast, local and international nongovernmental organizations estimate that 10,000 people to date have perished attempting to cross the Mexico-U.S. border. The Transborder Immigrant Tool (TBT) repurposes inexpensive used mobile phones that have GPS antennae. The project represents a multi-valenced code-switch, a queer technology. Its software aspires to guide “the tired, the poor,” the dehydrated—citizens of the world—to water safety sites. Concomitantly, its platform offers poetic audio “sustenance.” Incapable of resolving the long histories of fear, prejudice, and misunderstanding on both sides of the Mexico-U.S. border, TBT remembers the often overlapping traditions of transcendental and nature writing, earthworks, conceptual art, performance, border art, locative media, and visual and concrete poetries. It learns equally from the efforts of humanitarian aid organizations like the Border Angels and Water Station, Inc. “Poetry in motion,” TBT navigates the borderlands of G.P.S. as a “global positioning system” and what, in another context, Laura Borràs Castanyer and Juan B. Gutiérrez slyly misread as a “global poetic system.”
THE WHOLE INTERVIEW, FOR THOSE INTERESTED, CAN BE FOUND HERE
Electronic Disturbance Theater includes artists, poets, queer and cultural theorists, and engineers, such as Ricardo Dominguez, Micha Cárdenas, Amy Sara Carroll, Elle Mehrmand, and Brett Stalbaum.
For more, visit THEIR WEB PAGE.
REMINDER: FINAL PRESS Literary & Politics Series READINGS, SAT WEEK 9 & WEDS WEEK 10, IS YOU!!!
Recall that during the public (open to the campus community) night of our final project readings, Saturday Week 9, poet and translator MAGED ZAHER will be joining us for sharing of final projects that evening. Zaher will read from new and selected poems, and will be on hand to enjoy YOUR new and selected poems! Do come, because it isn’t just a reading. It is your class, specifically one of the two days of sharing final projects, which happen to be made by, and will thus be performed by, YOU! (So, it’d be a good time to show up.)
Maged Zaher is the author of THANK YOU FOR THE WINDOW OFFICE (Ugly Duckling Presse, 2012), THE REVOLUTION HAPPENED AND YOU DIDN’T CALL ME (Tinfish Press, 2012), and PORTRAIT OF THE POET AS AN ENGINEER (Pressed Wafer, 2009). His collaborative work with the Australian poet Pam Brown, FAROUT LIBRARY SOFTWARE, was published by Tinfish Press in 2007. His translations of contemporary Egyptian poetry have appeared in Jacket magazine and Banipal. He has performed his work at Subtext, Bumbershoot, the Kootenay School of Writing, St. Marks Project, Evergreen State College, and The American University in Cairo, among other places.