This is a plea for feedback on this audio file which is the last attempt to do something useful with the Bloody Sunday / Saville project. I’m asking for feedback because it seems to ‘work’ in the way that I want it to but I’d be interested in the response of others especially in terms of coherence.
tagsadorno amy de'ath andrew marvell arduity atemwende Better than language bloody sunday caroline bergvall celan charles olson clavics david jones derrida Difficult poetry dionysus crucified documentary poetry Edmund Spenser elizabeth bishop ezra pound field notes francesca lisette geoffrey hill Geoffrey Hll geology george herbert heidegger holocaust in parenthesis jacques derrida jeremy prynne j h prynne joe luna john matthias john skelton jonty tiplady kazoo dreamboats keston sutherland love III martin buber martin heidegger maurice blanchot maximus poems mental ears and poetic work neil pattison night office odi barbare paul celan paul muldoon pierre joris poem poetic thought poetry preferences prynne Reitha Pattison Samuel Beckett simon jarvis slow light streak willing entourage artesian stress position sub songs the anathemata the faerie queene the meridian the odes to TL61P the triumph of love the unconditional Timothy Thornton to pollen trigons ulster vanessa place wordsworth writing wrong poetry
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Just 3 mins into it. Skipping keeps coming out at me. And something silent. I’m jumping how the skipping is meaning skipping, as in a record skipping. Beyond that, getting waves of darkness, mess, silence, blood. Enjoying it. Has a great rhythm to it. Obvious that it’s not a simple repeating algorithm. Feels like some sort of sense onomatopoeia where it sounds like distress and confusion, battle. McGuigan! I’ve just realised it’s that Bloody Sunday. Aah, so that adds up.
the record of memory? Skipping as innocent child’s play and over something erased – too hard to remember.
I’m really pleased and grateful for your response, the whole project was/is intended as an interrogation of the integrity of memory and the need to witness as exemplified by the Saville Inquiry.
Well, John, this listener thinks it’s great. You’ve managed to get it to a place where its poetry and its music are brushing up against each other. (And let’s not forget the visual element as the voices talk across the screen, and across themselves.) I remember that you were listening to some music by Laurence Crane at one part of the process. It also has the density of a Cecil Taylor in his prime, and some of his fury. I’ve been listening to Shostakovich’s Preludes and Fugues (and listening to them in the context of Bach’s preludes and fugues) and it definitely works as a fugue. What it the name of that poem again? Todes…
I also would like to point to the early Steve Reich piece ‘Come out’. Both ‘People come genuinely but mistakenly’ and it are making use of a sort of patterning of words to shed some very sharp light on violence—Reich strings the words out—spaces them out—you reverse the process creating a patterned chaos, which I think would be very true to a situation of someone remembering violence and chaos.
His head exploding. The Blood.
Thank you again for the care and consideration that you bring to this material. The idea of pushing it to a point where it almost breaks has been with me for a while but it was only yesterday that I had the opportunity to properly record what has been in my head. I’m far too close to it at the moment to make a judgement as to quality but I think it does what I want it to.
Once this has ‘sunk in’ I’m going to return to Crane and repetition and enjambment.