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Entries from December 30, 2007 - January 5, 2008

Saturday
Jan052008

Openned noticeboard

There is a new link on the sidebar to the Openned noticeboard. Please post any news, events or publications on the noticeboard that you think will be of interest to other Openned readers. Full instructions on how to post (it's very easy) are on the noticeboard page, along with further information and guidelines.

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Saturday
Jan052008

Situationist International 1956-1972

'Part 1: A video documentary combining exhibition footage of the Situationist International exhibitions with film footage of the 1968 Paris student uprising, and graffiti and slogans based on the ideas of Guy Debord' Go here for the other parts Warning: features arse-paddling music.

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Friday
Jan042008

Ubu Editions: Publishing the Unpublishable

What constitutes an unpublishable work? It could be many things: too long, too experimental, too dull; too exciting; it could be a work of juvenilia or a style you've long since discarded; it could be a work that falls far outside the range of what you're best known for; it could be a guilty pleasure or it could simply be that the world judges it to be awful, but you think it's quite good. We've all got a folder full of things that would otherwise never see the light of day. Link

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Thursday
Jan032008

New Year's Resolution

From How We Came Into Performance: A Personal Accounting by Jerome Rothenberg: 'When I was first coming into poetry – more than fifty years ago by now – the opportunities for readings, much less “performances,” were very few. That isn’t to say that poetry was never read or performed in public – in traditional verse plays and early modernist theater, in readings by actors, in lieder and operas and other musical settings, and sometimes (but not then so often) by established poets on what was still a limited lecture circuit, with readings few and far between. What changed, as we then entered into it, were the venues and the participation of increasingly large numbers of poets as readers (later, for some, as performers) of their own work. Once readings could exist and find an audience – as they did – in non-institutional settings, the possibility of readings opened for poets of all ages and with or without established reputations.' Link (PDF)

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