Podcasts about thylias moss

The gorls chop up some gorgeous lines before playing Mean, Queen, or Blue Jean.Support Breaking Form!Review the show on Apple Podcasts here.Buy our books:     Aaron's STOP LYING is available from the Pitt Poetry Series.      James's ROMANTIC COMEDY is available from Four Way Books."It was a time when they were afraid of him" is from Jimmy Santiago Baca's poem "Ancestor""An opening to a story should be / unremarkable" is from Catherine Chen's " My Poem Asks to Be Read Right to Left""Things happen when you drink too much mescal" is from Moira Egan's "Bar Sonnet # 11"Rabindranath Tagore's poem "Gitanjali 11" begins: "Leave this chanting and singing and telling of beads! Whom dost thou worship.""Crickets are stitching the afternoon" is how Rosanna Warren begins her poem "Boletus" "Arlene learned to dance backwards in heels that were too high" is the start of Patricia Smith's poem "Siblings""I will die in Paris, on a rainy day," writes Cesar Vallejo at the beginning of his "Black Stone Lying on a White Stone" "Monterosa, your body is dead on Avenue A." is from Jack Agueros's "Sonnet for Angelo Monterosa""We kept war in the kitchen" is the beginning of Reetika Vazirani's  "Dream of the Evil Servant""This did not happen" begins Thylias Moss's poem "Did Not Happen"Watch "10 Things Joseph Sikora Cannot Live Without" from GQ here.Check out Forbes's list of The Most Comfortable Heels That Consistently Earn Top ReviewsPattiann Rogers is the author of at least 17 books, including most recently Flickering, just published in April of 2023. Read this interview with her in Lit HubThe Frank O'Hara line I reference in the game "Queen, Mean, or Blue Jean" is "Poem [Lana Turner Has Collapsed" which you can read here.For more tea about Virginia Woolf and her paid domestic workers, read this review.

Recordings of the poet Thylias Moss, with an introduction to her life and work. Recorded 2007, in studio, WBEZ, Chicago.

Slideshow of the window installation at Work Gallery - Detroit featuring "Cogs in the Glass Machine," a Detroit Intersections Project on which Jim Cogswell, visual artist, and Thylias Moss, text artist, collaborated. The text may be downloaded in pdf format in another episode of this podcast.

The author, Thylias Moss, reads her picture book I WANT TO BE with music by the 2002-3 version of Ansted (when he was ten). This audio file is For Janice H. and Talisa J., a mother and a teacher to whom this book has become important. Thank you for sharing your thoughts on the book, thoughts that extend what the book accomplishes. I am glad to have you as collaborators in expansion. This sound file is also for Janice's daughter and for all of the children in Talisa's learning space in Georgia.

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.

Digital quilting of interior images (by Shaelyn Smith) and exterior still & moving footage (by Thylias Moss) of the demolition of an historic University of Michigan building in the further documentation of an exploration of the nature of what contains and the nature of what is container, a dual & simultaneous possibility, the status of container or contained determined by perception prevailing at the moment of perception (the eye of the beholder). The complex textures and structures revealed through the irregularity of details in the stages demolition as captured by Shaelyn become visual metaphors for intangible qualities of experience associated with interactions with the physical space. An understanding of internal and external systems of structural integrity associated with Frieze become more revealed (or exploited) as the building is demolished. The patterns of the demolition offer aesthetic qualities that should not surprise as the mapping of these patterns through Shaelyn's digital lens reveals repetition and similarity with patterns related to stabilizing systems as well as to other destabilizing systems. Without Shaelyn's work, an ability to study these patterns would not exist.

Sound poam treatment of "Maudell's Moon," a print poem by Thylias Moss, dedicated to Kevin Clark who provided the occasion for the recording of this version that differs from the print object necessarily for not occupying the same form of space, and for needing to adapt to the forms of occupancy possible in the different host landscapes (I'm thinking also of Zachary C. --thanks for being in this landscape, too).

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.

Sound poam composed in collaboration with the mirroring sequence in the "Pleasurable Complexity" video poam that debuted at the collaborative poetry event and concurrent Duderstadt Center Gallery show that featured photography by John Chervinsky in September 2006 at the University of Michigan. The "Pleasurable Complexity" video poam is available in the Limited Fork podcast where other materials, including pdfs, related to lattices (including lattices in TOKYO BUTTER, a collection of print poams by Thylias Moss) are available.

Main soundtrack poam composed in collaboration with the "Pleasurable Complexity" video poam that concludes with the sound poam "Glassy Implications of the Lattice" composed for the mirroring sequence, and available in this podcast. "Pleasurable Complexity" is a video poam that debuted at the collaborative poetry event and concurrent Duderstadt Center Gallery show that featured photography by John Chervinsky in September 2006 at the University of Michigan. The "Pleasurable Complexity" video poam is available in the Limited Fork podcast where other materials, including pdfs, related to lattices (including lattices in TOKYO BUTTER, a collection of print poams by Thylias Moss) are available.

This sound/poam/track, 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, and is part of the Limited Fork Simultaneity Studies Series. This sound poam forms different structures (including structures of meanings) when it interacts with the video poam "Ostrich Culture of Snowmen" which is available in the Limited Fork podcast. The interactions are not limited to the sound poam and the video poam. Also in the Limited Fork podcast is a pdf of a small book of video stills from the video poam. 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.edu and I'll post the resulting poams to the appropriate Limited Fork podcast(s) as soon as the poams are made. A high resolution widescreen version of the video poam is available from Thylias Moss (thyliasm@umich.edu).

This video 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, and is part of the Limited Fork Simultaneity Studies Series. This video poam forms different structures (including structures of meaning) when it interacts with static and focused platforms (also achievable by pause functions) such as document forms such as the pdf visual poam, available in this podcast, of still images from the video. The interactions are not limited to the sound poam, the video poam, and the pdf of stills. 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.edu and I'll post the resulting poams to the appropriate Limited Fork podcast(s) as soon as the poams are made. A high resolution widescreen version of this video poam is available from Thylias Moss (thyliasm@umich.edu).

At the request of Rebecca Donahue and Mikel Alvarez for insights about the poem "Tornados," this sound poam version appears in this podcast. The print form of "Tornados" is available in RAINBOW REMNANTS IN ROCK BOTTOM GHETTO SKY by Thylias Moss and in a number of anthologies. Please send requests for audio versions of her work to thyliasm@umich.edu

At the request of Mikel Alvarez, this sound poam version of a poem from SMALL CONGREGATIONS by Thylias Moss appears in this podcast. Send any requests for sound poam versions of her work to thyliasm@umich.edu

The song playing --the line "inherit the earth" upon impact-- in the 2004 accident referred to in "Accidental Culture," a poam in TOKYO BUTTER © 2006 by Thylias Moss. The song, written as a gift for my mother, derives its lyrics from the Beatitudes in the Gospel of Matthew.

Song written during the time of preparations for Deirdre's funeral, recorded on CD and distributed to family after the services; the Deirdre of this tribute is also the Deirdre of TOKYO BUTTER, a collection of poams © 2006 by Thylias Moss.

This video poam is an unintended collaboration that in the lack of intention becomes a lattice itself, a community of interactions from multiple locations intersecting on a number of levels (or lattices). The compatibility of KC's video, and the spoken language with Ansted's images seems designed rather than incidental, yet it wasn't until I had these separate components for the Gallery exhibit component of "Pleasurable Complexity" Limited Fork poetry event that I realized the benefit of seeing the separate pieces together, allowing them to speak a shared language in addition to the multiple levels of saying in their separate languages. Two themes of the "Pleasurable Complexity" Limited Fork poetry event were "place value" and "implications of the lattice," with "implications of the lattice" contained in notions of "place value," and notions of "place value" contained in "implications of the lattice." More "Pleasurable Complexity" materials are available from the Limited Fork podcast. --Thylias Moss

This video poam is an unintended collaboration that in the lack of intention becomes a lattice itself, a community of interactions from multiple locations intersecting on a number of levels (or lattices). The compatibility of KC's video, and the spoken language with Ansted's images seems designed rather than incidental, yet it wasn't until I had these separate components for the Gallery exhibit component of "Pleasurable Complexity" Limited Fork poetry event that I realized the benefit of seeing the separate pieces together, allowing them to speak a shared language in addition to the multiple levels of saying in their separate languages. Two themes of the "Pleasurable Complexity" Limited Fork poetry event were "place value" and "implications of the lattice," with "implications of the lattice" contained in notions of "place value," and notions of "place value" contained in "implications of the lattice." More "Pleasurable Complexity" materials are available from the Limited Fork podcast. --Thylias Moss

Text of poam (product of an act if making) part of a University of Michigan Engineering 477 VRML (virtual reality modeling language) Project, Fall 2003, related to themes, images, & attempts to locate what remains dealt with in Tokyo Butter © 2006 by Thylias Moss. This poem, though a part of the book, is outside the book. Go to http://www.engin.umich.edu/class/eng477/projectsf03/POEM/Report/Report.html to see details of the Virtual reality Modeling Language project.

Poem from SLAVE MOTH a narrative-in-verse by Thylias Moss. Explores the interaction of music and text, another aspect of self that Varl, the adolescent enslaved female narrator of SLAVE MOTH, would not have wanted to suppress, and didn't --though maybe only she heard herself singing.

poetry as sound art (a poam) --companion to the 15-minute online poetry writing friendly competition at quickmuse.com (see the 27 June archived agon for the real time play back of the writing of the poem and to read the finished static piece)

A book of interactions between two visual language systems, images and words, to accompany the 14 September (and as of 15 September, to document the) presentation of "WORKS OF PLEASURABLE COMPLEXITY, a LIMITED FORK POETICS EVENT" by Thylias Moss of the University of Michigan and John Chervinsky of Harvard University. All images © John Chervinsky, 2005. See more at http://www.chervinsky.org

Experimental poetry short from the early days (late 2004) of Limited Fork Poetics with images and soundtrack by Ansted Moss, animated text and vocalizations by Thylias Moss interacting in a hybrid literary form (a poam)