Saturday, February 20, 2010

Interventions Day 3 part 1

There's been a lot going on; i'll divide the day so far into 2 or 3 posts. i'm skipping the afternoon sessions because i've got a lot to chew on, so i apologize to those not in attendance who are intervening vicariously through me.

Panel 1 - Betwixt & Between--collaboration & cross-disciplinary literary creation

-Jen Bervin, Fred Wah and D Kimm, moderated by Larissa Lai; Daphne Marlatt was supposed to participate, but couldn't make the conference. Larissa delivered Marlatt's paper instead.
--Jen Bervin (whose website is REALLY COOL) talked about her tactile/textile art projects. She makes beautiful things, and is currently working on a scale model of the Mississippi 250ft long, made from sequins hand sewn together. She was, i believe, the third poet to talk about Emily Dickinson; interesting that Dickinson's influence is moving deeply through the conference, while the people i expect to hear about (Black Mountain poets, for example) have largely been unmentioned.
--D Kimm rocked the conference. She says "I am the French at this conference" and proceeded to talk about her participation in the Montreal artists community as a bridge builder between French & English artists. "Being edgy is taking risks" and the "process is more interesting than the result" were two of her comments on the conference thus far, and i think she raised great points. Artist involvement in community, in performance is clearly very important to Kimm, and although i'd never heard of her before, she got me REALLY EXCITED about the possibilities of intersections between performance & text.
--Larissa Lai read Daphne Marlatt's paper; i think it was the first time i heard Charles Olson mentioned. What struck me most was Larissa reading a paper Daphne Marlatt wrote in the first person, especially since Larissa's been talking so much about the subjective "I" emerging and disappearing in her own writing. Neat to hear about the writing of Steveston and it's long influence on Marlatt's career.
--Fred Wah focused on hybridity and betweenness, talking about his collaboration with Haruko Okano, who was interested in Pidgin Japanese spoken in internment camps during WWII. Fred drew attention to ideas of mixed, of colours, of race, and of contamination.
--An audience member asked "How does the avant-garde know that it is avant-garde?" to which Jen responded "I prefer the term that came up yesterday, the 'rear guard.'"

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