Color Project

"The Chocolate Library"

https://vimeo.com/42575394

The Nantucket Poems

Recordings of my poems written for my Final Project.

Part One

Part Two

The Trajectory of Flying Memories

I wrote 8 poems for my final project and performed them in class.  Here is the first one:

The Trajectory Of Flying Memories

Hand in hand, we stand in line.

One in front of another

Like a row of corn,

Heads bowed

Shoulders hunched

Waiting patiently

In anticipation

Of what we do not yet know.

One by one

The man behind the counter stamps

The watermarked pages,

Crisp clean,

Dog-eared,

Creased perhaps,

Or slightly fraying at the edges,

A history of where,

A record of who.

Weighed down by where we've been

And where we have yet to go,

I cannot seem to see past

The immediate next flight of stairs.

Just then,

A little girl

Clutching her mother's dress

Points to a sign behind us

And I follow the line of intent

To let my eyes linger a little longer.

Silently, I turn to face forward,

Looking ahead

While I tuck my lingering glances

In a safe nook

In the cradle of my heart.

emma's sound project

here

Audimmersion

Hey everybody,

Sorry for the delay. I've uploaded my audio file for my file project to the link below. My project deals with the emotion of isolation, the audio I've recorded exemplifies the effort to combat that feeling. Growing up, I lived in the presence of cars, traffic, and passersby, only to lose them during my move to Providence. I didn't quite know until they were taken away just how comforting those sounds could be, and just how much they could affect my mood.

The track is ideally listened to in the following environment:

• A personal, quiet space.
• On a relaxing piece of furniture.
• With the windows closed.
• With your eyes closed.
• Laying down in a comfortable position.
• At a time right before you lay down to sleep.

Please take the time to listen, I hope you enjoy the experience.

Thanks,

-Jake

jake's final project

AUDIMMERSION

afton wilky on lex-ICON

Lex-ICON

Book Review by Afton Wilky (RISD BFA Painting 2005, Louisiana State University MA in Rhetorical Theory, MFA in Poetry (with distinction), 2012

Rain Taxi Online Edition: Spring 2012

A THOUSAND SEVERAL

Emily McVarish

Granary Books

by Afton Wilky

In A Thousand Several, Emily McVarish explores the space of a book through its relations to cityscapes. As if she has positioned her reader at a busy intersection, each page becomes a place that text and image move into and out of. In this way, the experience of reading A Thousand Severalfeels more like turning the pages of a flip book animation than following a continuous line of text from left to right and top to bottom.

The sense of motion produced by figures photographed in the act of walking, extends McVarish’s earlier experiments with duration and presence. In both A Thousand Several and Was Here (2001), words and images are the empty shells of what has already passed. By rendering the figures as silhouettes, outlined forms, or monochrome cutouts, McVarish calls attention to layers of blankness that accompany forms of representation. Additionally, by flattening three-dimensionality and cutting the figures out of their original context, she produces a page-space at once strange and familiar. On these pages, both image and text float until they intersect with another figure; this intersection cuts and connects at the same time.

It’s these “risk-slits” and “torn encounters” which surface as the subject of A Thousand Several. Once the “thin outer coating” of the book is opened, the “several” of the title becomes “sever al” on the title page, suggesting that the wholeness of words is merely the layer most often seen. “Kept in parts,” and “built in passing,” language and image are understood here as the sum of letters, outlines, and shadows, and as the “byproduct” of what is now over. By these terms, cuts seem to bleed glue.

The hyphen may be the perfect model for this cut/glued condition of language, since it literally “divides and figures . . . streets and open spaces” on the page. Straddling distinctions between text and image, the hyphen can be both a punctuation mark and a line. Here, thousands of hyphens strung together into dotted lines create the cross section of a “street” which cuts across each page.

Often, these lines darken a large stripe across the book, which appears strangely flat in relation to the depth suggested by the floating figures. However, like McVarish’s figures in which there is a range offered between silhouette and outline, a dotted contour also indicates this street. In this way, the street demarcates a space for occasional crossing and for the traffic of words.

Fluctuating between fullness and emptiness, the street refigures a dilemma of language and image—a dotted line fills in space at the same time that it draws the line to be cut along. The street then alternately makes visible and invisible the sedimentation of cut-marks. As can be seen in the second image, if we drilled all the way through this sediment, we would find ourselves in another world, or at least on the inside of a mirror. The implications of these organizations are further compounded when we realize that the cross section of this street might also be seen as the cross section of a book.

What takes shape in McVarish’s work, through the interaction of grounds, forms, and the text itself, is the idea that a word or an image is always a figure in unseen motion. Like a city, A Thousand Several is an amazing trace of its struggle, holding open the space of its passing by.

Assignment 2: Sound

Re-translation of a a recording of one of my original poems, 'Aqua', into an evocative space of sound.


AQUA

Andrea on Ingold

"He takes a one dimensional term and constructs a four dimensional idea."