Nick Matthews

  • Technology has allowed us to transplant “our voice” outside of the body; to make electronic objects our vocal dopplegangers, and hear the guilty pleasure of our own voices talking back at us. We’ve found ways to edit it, fine-tune, auto-tune it, do about anything to it—yet at what point does it no longer become “your” […]

  • While certainly a lot to process, I may have to go about melding ideas and theories as I go. Firstly, my attendance of a poetry slam is reflective of my own personal “tastes”. As I understood it, Bourdieu likens “tastes” to a cultural caste systems of sorts—i.e., because of my appreciation of poetry, language, and […]

  • “The slipperiness of the slam poem is that it exists both everywhere and nowhere at once: it may exist as text or in performance bounded by space and time or as utterance and image in recorded media.” (Somers-Willett, 26) The above quote by Somers-Willet captures best the unique nature of slam poetry. As her analysis […]

  • This might seem odd, but the entire time I was reading the articles and watching the Reverend Billy videos I couldn’t help but think of Sacha Baron Cohen, or his myriad personalities: Ali G, Borat, and Bruno. While Cohen is certainly acting to a certain degree, he is also using his performance in these various […]

  • Constative, performative, illocutionary, prelocutionary, and last but not least”Differance”. These are all words that are attempting to explain, or perhaps understand, what “words” actually do (interesting right?). Are we performers indirectly by every utterance we make? Or rather, is performance carefully calculated speech that is successful only…[Read more]

  • “Thus, if the Black Arts movement inherited from various avant-garde sources a predilection to stress process over product and a sense of the materiality of the voice, especially the black voice, it also received an emphasis on the importance of the visual text as a means for conveying this materiality.” (Smethurst, 97) I found Smethurst’s […]

  • “They were interested in attacking, disorganizing, and in the case of Ginsberg and Corso, reorganizing the structure of human sensibility as such through a revolutionary use of language, the overturning of the old patterns of logic and syntax.”—Rexroth on “The Beats” Putting the mutual dislike amongst Rexroth and Kerouac aside, the evolution of…[Read more]

  • “It is, above all else, a practice of freedom”(McCaffery). This statement by McCaffery captures best my interpretation of sound poetry. In my first exposure to it I can’t help but fight against the confines of a literary mind. Attempting to comprehend every dissonant sound, every echoing cry, and every indecipherable utterance is a lost cause. […]

  • “With writing, the mind is forced into a slowed-down pattern that affords it the opportunity to interfere with and reorganize its more normal, redundant processes” (p,40). This line above all else has been lingering in my thoughts after this week’s reading. On one level, especially for anyone that writes, it renders the process so completely […]

  • Not to double post, but I realize i forgot to “login” before posting my comment. The above “anonymous” entry would be mine, apologies.

  • “Simple” The hardest aspect to reconcile (for me) when listening to Barka’s “Afro-American Lyric” is the ensnarement that goes with attempting to understand all the words as opposed to the sounds. With no written transcript to access, the verse flows in a stultifying stutter that twines a steadily building fervor with repeated pleas of “seeeimple”. […]