Podcasts about limited fork music

Slideshow of "Mother's Day," a graphic prose poam in eight 20x30 panels, part of the Place.Mark exhibition opening 7 March 2008 at the Work Gallery on State Street in Ann Arbor, Michigan. Features text extracted from conversations that took place between Thylias Moss and Ansted Moss, beginning in 1999 when he was eight-years-old, and features images captured with a digital SLR camera, a digital point-and-shoot camera, a 50x USB microscope, a camera phone, and a Polaroid camera. Images of Thylias Moss shot by Strexx, all others taken by Thylias Moss. An audio file of the Artist's Statement is available from the Limited Fork Music podcast.

EGGS! VISUAL I SPY! Look closely at the eggs, in the eggs, in the eggs within eggs in this low resolution version of the "Bubbling to Memphis" video poam for those with storage issues. The compression will be strained on those large LCD and plasma monitors, but on a portable device, it should look fine. A video poam that is a component of the Bubbling series that explores interior activities and the architecture of spaces that may be accessed when expansion occurs in or near centers. The series investigates what happens to notions of containment in such situations. This video poam is for Primus. Thank you for asking me for a video poam when I was in a location (the middle of an investigation) that lent itself to making one. Look for the "Bubbling to Memphis" soundtrack and the a cappella version of the soundtrack in the Limited Fork Music podcast.

Shaelyn Smith's video poam exploring (some of) the nature of what contains and (some of) the nature of what is contained through an investigation of the changing nature of the Frieze building during its time of demolition. Hear the soundtrack in the Limited Fork Music podcast. Shaelyn is a student practitioner of Limited Fork Poetics.

LFMK is a video poam made for the SAPAC (Sexual Assault Prevention and Awareness Center & SafeHouse Center) "rEVOLUTION" show in the Duderstadt Center Gallery to launch the LFMK brand. LFMK (Looking for My Killer) is a (type of) PSA that hopes to call attention to the vulnerability of humanity through an extreme selfless act, that of a woman using herself to attract the attention of an attacker in order to protect other women the attacker might pursue if she were not willingly available. Because she enters into her humanitarian mission joyfully, the music is spirited, the colors of the embedded ads (by Ansted Moss of abstract-projections.com) are vivid. Look for LFMK T-shirts, mouse pads, mugs, picture frames, tote bags. Read some of the LFMK print poams in The Canary, Callaloo, NOR, and the Oleander Review. The LFMK soundtrack is available in the Limited Fork Music podcast.

EGGS! VISUAL I SPY! Look closely at the eggs, in the eggs, in the eggs within eggs. A limited fork video poam that is a component of the Bubbling series that explores interior activities and the architecture of spaces which may be accessed when expansion occurs in or near centers. The series investigates what happens to notions of containment in such situations. This video poam is for Primus. Thank you for asking me for a video poam when I was in a location (the middle of an investigation) that lent itself to making one. Look for the "Bubbling to Memphis" soundtrack and the a cappella version of the soundtrack in the Limited Fork Music podcast.

A video poam exploration of some of the visual potential of some of the content of the sound & text poams of the same name. This video poam is also for Evie of MiPO who asked me to submit some work. Thanks for getting this tine of the fork in motion. This video poam is not likely to be the final bifurcation. "Monday Aardvark of Laundry" contains images by Ansted Moss (see more of his visual work at abstract-projections.com) and Thylias Moss. The "Monday Aardvark" sound poam is available in the Limited Fork Music podcast. Thanks Mattie, Martha, and Donna for your wonderful faces.

Video poam treatment of "Verde," a prose piece available at poetrymagazine.org. The video includes Spanish by Federico Garcia Lorca from the poem "Somnambule Ballad," and a still image by Ansted Moss whose image work may be seen at abstract-projections.com. The soundtrack is available in Limited Fork Music.

Soundtrack Poam of "Pi Complex," a video poam short available in the Limited Fork podcast. This soundtrack poam is related to "Pi Song" and to video and audio versions of "Tornado Pi" available in Limited Fork and Limited Fork Music.

A video poam of "Rush Hour," from my first collection of poetry, and a companion piece to the sound poam in the Limited Fork Music podcast, made for Phoebe and Kathy of Symphony Space. Intersects with and departs from "Rush Hour (too)," a video poam available in this podcast. The soundtrack of this video poam is available from the Limited Fork Music podcast.

Video poam companion to "Rush Hour" sound poam in the Limited Fork Music podcast, made for Phoebe and Kathy of Symphony Space and for the adult literacy students who used "Rush Hour" in their program. Thank you for giving me an opportunity to revisit a poem from my first book.

A video poam by a practitioner of Limited Fork Poetics. The soundtrack is available from the Limited Fork Music podcast.

A book of still poams, images from "Ostrich Culture of Snowmen" from the Limited Fork Poetics simultaneity studies video series. Companion poams are available in this podcast and in the Limited Fork Music podcast. This visual poam, dedicated to Haesong Kwon and the CREAM CITY REVIEW where "The Culture of Snowmen" appeared as a print object poam, is a product of investigations of scale and simultaneity of activity in interactions in language systems. The print object poam "The Culture of Snowmen" is part of TOKYO BUTTER, my new collection of poetry from Persea. Please send any requests for LFP information or for sonic and/or video forked treatment of any of my print object poams to thyliasm@umich.eduand I'll post the resulting poams to the appropriate Limited Fork podcasts as soon as the poams are made.

A video poam by a practitioner of Limited Fork Poetics. The soundtrack is available in the Limited Fork Music podcast.

A video poam for Mikel Alvarez whose request for the sound poam "Tornados" led to the creation of this video poam. I hope you like it, Mikel. "Tornado Pi" contains an image of the mother of Limited Fork Poetics taken by Ansted Moss. "Tornado Pi" also contains footage of the "Pi Song" ENG 429 players: Nate Barron, Rachel Harkai, Jennifer Obidike, Julia Ris, and Jennifer Sharkey. Nate and Jennifer Sharkey's video poams are available in the Limited Fork Video Anthology podcast. The soundtrack of "Tornado Pi" is available in the Limited Fork Music podcast. "Pi Song" is available in the Limited Fork podcast and the the Limited Fork Music podcast. The soundtrack of Jennifer Sharkey's video poam is also available in the Limited Fork Music podcast. "Colorful Dimensions," composed and performed by Ansted Moss, is the sonic structure that emerges with visual structures in this video poam. Please send any requests for sonic and/or video poams to thyliasm@umich.edu

Soundtrack of "Tornado Pi," a video poam available in the Limited Fork podcast for Mikel Alvarez whose request for the sound poam "Tornados" led to the creation of the video poam. Thank you for asking for the sound poam, Mikel. The sound poams "Tornados" and "Pi Song" are available in the Limited Fork Music podcast. Send any requests for sound or video poams to thyliasm@umich.edu

The complete soundtrack of the 2005 video poam "DOD-the death of depth" that introduces principles of Limited Fork Poetics. The video poam is available from the Limited Fork podcast. An instrumental version is also available from the Limited Fork Music podcast.

A video poam of interactions in language systems that also explores repetition as translation. The soundtrack is available in the Limited Fork Music podcast.

This movie poam debuted at the "Pleasurable Complexity" Limited Fork poetry event on 14 September at the University of Michigan. The theme is "place value: implications of the lattice." 37 layers (communities) of interacting language systems (communities) are latticed in the making of this poam. Poams related to this theme, including a "Pleasurable Complexity event book," may be found throughout all three Limited Fork podcasts: Limited Fork, Limited Fork Music, and Limited Fork Video Anthology. This poam contains images © 2005 by John Chervinsky and are used by permission. This poam also contains content from the "Pleasurable Complexity event book" also available in this podcast. The image of the women in burqas is by Steve Evans and is used under the Creative Commons license.

This movie poam debuted at the "Pleasurable Complexity" Limited Fork poetry event on 14 September at the University of Michigan. The theme is "place value: implications of the lattice." 37 layers (communities) of interacting language systems (communities) are latticed in the making of this poam. Poams related to this theme, including a "Pleasurable Complexity event book," may be found throughout all three Limited Fork podcasts: Limited Fork, Limited Fork Music, and Limited Fork Video Anthology. This poam contains images © 2005 by John Chervinsky and are used by permission. This poam also contains content from the "Pleasurable Complexity event book" available in the Limited Fork podcast. The image of the women in burqas is by Steve Evans and is used under the Creative Commons license.

A video poam exploring scale and the simultaneity of experience in interacting language systems which form and reform poetic structures as a consequence of the ways in which their existences fold and unfold. "Place Value" is also about the location of poetry and the need for people to be receptive to the incredible readiness for poetry exhibited by all that exists. The poam considers how value both is and isn't assigned to instances of this incredible readiness. The soundtrack is available from the Limited Fork Music podcast.

A video poam (product of an act of making) exploring scale and the simultaneity of experience in interacting language systems which form and reform poetic structures as a consequence of the ways in which their existences fold and unfold. "Place Value" is also about the location of poetry and the need for people to be (more) receptive to the incredible readiness for poetry exhibited by all that exists. The poam considers how value both is and isn't assigned to instances of this incredible readiness. The soundtrack is available from the Limited Fork Music podcast.

This movie poam explores what led me to write the narrative in verse SLAVE MOTH when my son, the composer of the soundtrack for this short movie poam, was in sixth grade at a grade-six-through-twelve school. During a meeting, some parents wanted to ban a required ninth-grade ancestry assignment that was embarrassing, humiliating, and demeaning for disclosing that their sons could trace their ancestry no further than slavery. Right away, I realized the need for other models of slavery so that the shame being experienced could be attached to a broader, and I felt, likely more accurate context, one more able to embrace the range of possibilities of circumstances during slavery which, even if owners were benevolent, was unacceptable because ownership of human beings was unacceptable. Part of the horror of slavery is that benign gestures might make the peculiar institution seem acceptable, a good indignity. Imagination can make an incredible difference, and in fact made an incredibly negative difference for those mothers who in 2002 were unable to imagine a plausible, less obvious layer of the history so embarrassing for their sons that they would prefer not to explore the rich offerings of a past that their ancestors obviously survived no matter what horrors were encountered. How awful that they were so willing to deny the testimony that survival can be. How awful that they could construct for themselves only constricted, generic, and simplified images of slaves. I remain impressed and inspired by survival. There are layers of experience in SLAVE MOTH, and the Perry household is a complex and dynamic system of existence, relationships stabilizing and destabilizing as alliances shift and as feelings are poorly suppressed; there are conflicting understandings of responsibilities to self and others, and power shifts according to what is stabilizing and what is destabilizing at any given moment. The fact that power shifts makes it difficult for any one person to wield it well or consistently. SLAVE MOTH offers access to more of the layers of humanity that some mothers in 2002 were unable to allocate to enslaved persons. I too spoke at the meeting; just before I left to start writing immediately I informed the group advocating abolition of the genealogy assignment that my son, only in sixth grade that year, had had no trouble completing his assignment to write an ancestry poem. I commented that Ansted had traced his ancestry all the way back to the big bang, and considered himself a descendant of stardust. The text of his poem is part of "Project Genealogy," and is also offered here: Ancestry Poem We all came from a single cell a vast time ago specks coming to life in the oceans of the planets and in space everyone of us evolved from star dust into the form we take on now looking at space through telescopes at the next generation of star dust that will breathe --Ansted Moss, 22 October 2002. The soundtrack and sonic variations of "Project Genealogy" are available at the Limited Fork Music podcast.

DOD is a theory piece of Limited Fork Poetics, an experimental film that celebrates how text, sound, and both moving and static images can form sensory communities of varying densities while explaining some of what necessitates such explorations. The sensory paths are not duplicates; the sonic is not trying to say what the visual image is saying or the visual text, but they are all commenting on shared existence, so there are moments of convergence, and moments that contemplate, even if they do not complete, exchange. The death of depth in part suggests that a notion of distance may not belong in LFP, for in Limited Fork Poetics, there are means of instantaneous travel, to any location including the infinitely small and the infinitely large. Once arriving at these locations, surface is encountered. To cut into something, to identify a slice is to expose an interior surface. LFP understands fracture and rupture as an opportunity to build again, and an interest in building again, even while knowing the structures that form are temporary according to varying time scales. An instrumental version of the soundtrack is available from the Limited Fork Music podcast.

Theme song of Limited Fork Music, all about the forky approach to responding to experience. For more about the forky approach to experience, visit the Limited Fork podcast. This is a song of the starting place of forky understanding in 2004.