Wild Party - Skype Tea with World Tea Party at Centre A

Part slumber party, part jungle party, WILD PARTY goes on 24/7 in a bedroom in an 18th c country house in South Devon, England. The kettle is always on in this wilderness of laptops, iPods, data projectors, bad puns, random theories, tea trivia, tea lights, throw pillows, paper cut-outs and painted plywood trees. Drop in on a fiction writer in stripy dressing gown, a teenager in a wolf suit, a butler in track pants, a stuffed cow in a plush coat and a panda in a bikini for a cup of Wild Berry Tea.

J. R. Carpenter, Aphra Kennedy Fletcher, Jerome Fletcher, Mooey and Panda, with guest appearances from Couch Potato (who is basically a potato) and The Zebra Socks, will broadcast one hour of their ongoing WILD PARTY live via Skype from Sharpham House, South Devon, England, to Centre A, 2 West Hastings St., Vancouver, British Columbia, Canada, February 13, 1400 PST / 2200 GMT



WILD PARTY is part of WORLD TEA PARTY
Celebrations of global Tea Culture
Presented by Centre A
February 12-28 & March 12-21, 2010
Gallery Hours: 2:00 pm - 10:00 pm
Free admission before 6:00pm
Opening Reception: Friday, February 12, 7:00 pm

Centre A is pleased to present World Tea Party, animated by lead-artist Brian Mulvihill (aka Trolley Bus), one of the world’s leading tea masters and calligraphers based in Vancouver. Mulvihill is producing a special Olympiad edition of The World Tea Party.

Previous versions have been presented for large publics at the Winnipeg Pan Am Games, the Venice Biennale, the National Gallery of Canada, the Hollywood Bowl, the Eiffel Tower and other venues. The project is based on the notion that humanity shares in the drinking of tea a spirit of generosity and understanding that both celebrates and transcends our cultural diversity. Tea is the most common beverage in the world community.

The World Tea Party is a "social sculpture" that involves the creative empowerment of the audience and the general public. Its interactive aspect makes the World Tea Party an effective vehicle for a debate about the relationship between the Olympics and the Downtown Eastside.

Free Tea and Large Scale Video Projections
During gallery hours, tea is offered for free, both inside the gallery and at times on the street, while video projections are shown on the building’s exterior windows daily from 6:00 pm to 10:00 pm.

Two 5,000 lumen video projectors will be used to project images 40 feet wide across the front windows of the gallery. Content will include works by commissioned artists, live images of performances, pre-recorded tea images, documentation of the World Tea Party in different contexts

Special Events
The World Tea Party features a number of special events, including Skwxumesh First Nations artist Cease Wyss, who will host a First Nations welcome event on Sunday, February 14, featuring indigenous herbal teas. On Saturday, February 20, Jun Oenoki, who is Associate Professor, Communication Studies, Tokyo Keizai University and artist-in-residence at Centre A, will produce a teleconference with partners in Yokohama which will be streamed live to the Internet and edited for outdoor display. The traditional Japanese tea ceremony is presented by the Urasenke society of Vancouver. The relaxed atmosphere of the World Tea Party invites conversation and informal performances. New additions to the line-up will be posted to the website.

Local Network – "Bright Light" partnership of 10 DTES arts groups
World Tea Party is key station in the City of Vancouver's Olympic and Paralympic Public Art Program: Bright Light, an initiative that provides pedestrian friendly light-based public art works, projections and performances along Carrall Street, Hastings Street and in the neighbouring area. The project brings together a consortium of 14 creative partners, including Access, Helen Pitt, Downtown East Cultural Centre, Artspeak, LIVE, UBC Architecture and others. Centre A acts as a hub and meeting place for Bright Light.

Come have a cup of tea!

Please see these websites for complete event schedule:
www.worldteaparty.com
www.centrea.org
http://bright-light.ca/
. . . . .

NON-LINEAR NARRATIVES & MULTI-MEDIA POETICS: AN INTRODUCTION TO ELECTRONIC LITERATURE

The Quebec Writers Federation has invited me back to teach another Introduction to Electronic Literature workshop, same title as last year, but this time we'll have two days instead of one to explore and experiment with the reading, writing and performing of web-based electronic literature - very exciting as last year we had nowhere near enough time.

Two Saturdays, March 6 and March 13, 10:00am - 4:00pm
1200 Atwater Avenue., Room 2 (2nd-floor computer lab)
Registration information.



Electronic literature combines literary and new media practices, resulting in multi-media literary works that couldn’t exist in print form. Consideration of technology at the level of the creation of the text distinguishes electronic literature from e-books, digitized versions of print works, web publishing and other products of print authors ‘going digital,’ none of which will be discussed in this workshop. Unbound by pages and the printed book, electronic literature moves freely across the web, through galleries, performance spaces, and museums, yet does not reside in any single medium or institution. Electronic literature often intersects with conceptual art, web art, performance and sound art, but the reading, writing and performance of electronic literature is situated within the literary arts.

This workshop will begin with a brief historical background of the genre, including a discussion of some of the pre-web literary forms that digital writing evolved from. We will focus on looking at, reading and understanding a wide range of electronic literature produced in various media over the past 20 years. I will show how some of these works were built, give an introduction to HTML, provide a number of web resources and tool for further investigation, then propose a number of ways for beginners to approach the web medium for the creation and dissemination of texts. In particular, we will look at ways to use existing Web 2.0 structures to create distributive literary works. Writing exercises will include: collectively creating a hypertext narrative, remixing Python story generators, writing 140-character stories in Twitter and plotting postcard stories in Google Maps. There will be some technical discussion and experimentation, but prior knowledge of web programming is not required.

This workshop is ideal for experienced writers interested in expanding their existing practices to include web-based forms of non-linear, interactive, intertextual and/or networked literature and media artists exploring textual practices in digital work. If participants have electronic literature projects in mind, we can discuss strategies for creating these works. Visual and new media artists who use are using text in their work and wish to learn more about the literary aspects of digital writing will also find this workshop useful, as will avid readers of experimental literature from Calvino to Borges, and anyone interested in audio/video mashup, performance, remix culture, etc., who wishes to learn about this exciting new hybrid, hypermedia genre.

A list of links to online resources, further technical resources and venues for reading and submitting electronic literature will be provided.

Two Saturdays, March 6 and March 13, 10:00 a.m. to 4:00 p.m.
1200 Atwater Avenue., Room 2 (2nd-floor computer lab)
Workshop leader: J.R. Carpenter
Visit the Quebec Writers Federation Website for Registration information: http://www.qwf.org/workshops/spring2010/carpenter.html
. . . . .

Guest Lecturer at de Montfort University, Leicester, UK

The week of January 25, 2010, I'll be a Guest Lecturer in Kate Pullinger's Fiction Module in the online MA in Creative Writing and New Media at de Montfort University, in Leicester, England. I'll deliver the lecture from South Devon, England. Students will tune in from Oman, Vienna, Oxfordshire, Lublijana and the USA. I mention these diverse locations because they fit in so nicely with the theme of the lecture, which is: the conjoined notions of memory and place in The Cape. Not Cape Cod, Massachusetts, USA. That's a real place. The events and characters in The Cape are fictional. I built the web iteration of The Cape over the course of 10 days in August 2005, but some of the sentences in The Cape have been kicking around in my brain since the early 1990s. The Cape: The Backstory charts their migration through visual art, installation, theory, print, digital and zine forms.


[print-out used to create the web iteration of The Cape]

In November, 2008, I delivered a guest lecture to the online MA Creative Writing and New Media at de Montfort on Mapping Web Words. That and many other online lectures delivered as part of the MA from 2006-2010 are now online in The Creative Writing and New Media Archive. In these lectures, delivered online by leading practitioners across the world, via video, Skype, chatrooms, slideshows, websites and plain old-fashioned discussion boards, the speakers outline the realities of working in new media; detail the rigorous creative and theoretical challenges, and celebrate the sheer pleasure of breaking new artistic ground in this dynamic medium. Their legacy and influence still continues in the work of CWNM students as they graduate and begin their careers.

The Archive represents an important snapshot in the history of new media writing and will be of use to researchers, teachers, writers and readers. For more information, please visit: http://www.transliteracy.com
. . . . .

Reading List 2009

2009 was a year of reading interrupted. It started with an eviction notice. An amazing number of books can accumulate in 11 years. My bookcases and I had a long talk and we decided that a few hundred of our friends would have to go. Many were sold, many more were given away. The rest fit into 32 boxes. Finding a home for those boxes was hell. Two weeks after finally signing a lease on a new apartment, my marriage ended suddenly. As a reader, I didn't see it coming. There was no foreshadowing or anything. As a writer, I would have done things differently.

My books moved without me. My suitcases and I spent the summer living out of other people's bookshelves. It turns out that a friend close enough to put you up in a time of need can also be counted on to have a book collection close enough to your own to make you and your suitcases feel at home without a home. It turns out there are lots of books in the world. We merely move amongst them. Friends, on the other hand, are one-of-a-kind and impossible to replace.

My books and their cases are now housed in a storage locker in Montreal. I miss them very much. Especially the ones written by friends. There are many friends' book in this photo of one of my Saint-Urbain Street bookcases before its dismantling:



On the up side, my suitcases and I are now ensconced in an 18th century Palladian country house situated on a promontory in a bend in the River Dart in South Devon. We're catching up on our England reading. I am glad I saved Wuthering Heights until after visiting a moor, even though it's set on a different moor than the one I went too, and Waterland until after visiting Somerset, even though it's set on the Fens. Next up, Dart, by my new neighbour Alice Oswald, about my new neighbour The River Dart.

Here, in reverse chronological order, are the books I read in 2009:

• Alberto Manguel, A History of Reading
• Emily Bronte, Wuthering Heights
• Graham Swift, Waterland
• Sutherland and Nicolson, Wetland: Life in the Somerset Levels
• Jerome Fletcher, Alfreda Abbot's Lost Voice
• Charles Bernstein, Dark City
• Nicolas Evans, The Divide
• Clarice Lispector, Soulstorm
• Philippe Soupault, Last Nights in Paris
• Stacey May Fowles, Fear of Fighting
• Lisa Moore, Degrees of Nakedness
• Medlar Lucan & Durian Grey, The Decadent Traveler
• Per Petterson, Out Stealing Horses
• Iris Murdoch, A Severed Head
• Roddy Doyle, Paula Spenser
• Neal Stephenson, Snow Crash
• Tom Standage, The Victorian Internet
• Jerome Fletcher, Degringolade
• Kate Pullinger, The Mistress of Nothing
• Edna O'Brein, The Country Girls
• Deborah Eisenberg, Twilight of the SUperheroes
• Steven Ross Smith, Lures
• Anne Simpson, Quick
• Elizabeth Bishop, The Collected Prose
• William Faulkner, As I Lay Dying
• Oana Avasilichioaei, Feria: a poempark
• Edgar Lee Masters, Spoon River Anthology
• Agota Kristof, The Notebook, The Proof, and The Third Lie
• Nigel Peake, Maps: Fields, Paths, Forests, Blocks, Places and Surroundings
• John Berger, About Looking
• Francis A. Yates, The Art of Memory
• William Gibson, Spook Country
• Mary-Ann Ray, Seven Partly Underground Rooms and Buildings for Water, Ice and Midgets
• Jerome Fletcher, Escape from the Temple of Laughter
• Mark Haddon, The Curious Case of the Dog in the Night-Time
• Oscar Wilde, The Picture of Dorian Gray
• William Gaddis, Carpenter's Gothic
• David Gutterson, East of the Mountains
• A.S. Byatt, Little Black Book of Stories
• Shirley Jackson, The Lottery
• Merce Rodoreda, The Time of the Doves
• Gary Lutz, Stories in the Worst Way
• Daniel Z. Danielewski, House of Leaves
• Akira Mizuta Lippit, Electric Animal: Toward a Rhetoric of Wildlife
• Andrew Hood, Pardon Our Monsters
• Arjun Basu, Squishy
• Jacob Wren, Families Are Formed Through Copulation
• Chandra Mayor, All the Pretty Girls
• Harold Hoefle, The Mountain Clinic
• Beryl Bainbridge, Another Part of the World
• Lydia Davis, The End of the Story
• Vladimir Nabokov, Pnin
• Umberto Eco, Foucault's Pendulum
• Marco Polo, The Travels of Marco Polo
• Miguel de Cervantes, Don Quixote
• Italo Calvino, Why Read The Classics?
• Alejo Carpentier, The Chase
• Nell Freudenberger, Lucky Girls
• Irene Gammel, Baroness Elsa: Gender, Dada and Everyday Modernity

. . . . .

Reading Rebooted: Glimpsing the Future of Literature in the Digital Age

Earlier this month, in absentia was included in an exhibition called Reading Rebooted: Glimpsing the Future of Literature in the Digital Age. Reading Rebooted opened its doors on Nov 30, 2009 at 5pm, at the Kipp Gallery, on the campus of Indiana University of Pennsylvania. A project of the Kipp Gallery, IUP Center for Digital Humanities and Culture, and students from the Graduate Program in Literature and Criticism, the exhibit aims to "explore the imaginative engagement of poets and fiction writers with the tools of new media. . . inventing a post-Gutenberg space for literature."

We are interested in thinking about how digital writers engage with the possibilites of public and private, social and individual in their work. And while all of the pieces selected are available on the web (unlike some digital works designed for site-specific installations) and so can be "read" by an individual user on his or her private laptop, in the security of the home, we are placing them in the social space of the gallery.

We wanted to show them in the gallery because we are interested in how visitors to the site will choose to interact with these works. The spatial configuration of the gallery itself is envisioned as offering the visitor significant choices about how to take in these works ... to read, use, play, operate, and spectate...

Fourteen works from twelve digital writers were selected for this exhibition: Chris Ault, Alan Bigelow, Serge Bourchardon, J. R. Carpenter, Roderick Coover, Peter Cho, Andrei Gheorghe, David Jhave Johnson, Maria Mencia, Jason Nelson, Jody Zellen and Brian Kim Stefans.



http://readingrebooted.iupdhc.org/
. . . . .

Darting Stories Remix

As E-Writer-in-Residence at Dartington College, in Devon, England, this fall, I led a workshop on electronic literature with a concentration on literary mapping with first year Performance Writing Students. Over the course of the workshop students generated short texts for zines, postcards, epitaphs, blog posts and web maps. Though written separately, these texts explored common themes of place, mapping, the River Dart, Dartington and the past occupants (fictional or otherwise) of Dartington Hall. The workshop exercises and the texts they produced are archived on a group blog: Darting Blog. These texts are presented collectively as a final project on a Google Map: DARTING: A Collective Story Map

The last session of the workshop focused on remixing. I created a Darting Stories Remix by taking sentences from the various (and varied) texts archived on the Darting Blog and fed them into one of Nick Montfort's Python story generators. I had used this same method earlier in the year to create Excerpts from the Chronicles of Pookie and JR.

For the purposes of this Darting Stories Remix, I shortened some of the sentences or selected excerpts from longer sentences to fit into the Python story generator format, and changed them all into the present tense and first person. Otherwise, these remain sentences written separately by separate authors remixed by a Python script to make collectively authored stories.

To read the Darting Stories Remix, download this file to your desktop and unzip: Darting.py On a Mac or Linux system, you can run the story generator by opening a Terminal Window, typing "cd Desktop", and typing "python Darting.py". Hint: look for Terminal in your Utilities folder. This Python story generator runs on Windows, too, but you will probably need to install Python first: version 2.6. Once Python is installed you can double click on the file and it will automatically launch and run in the terminal window. Every time you press Return a new version of the story will appear. For example:



Here are a few more examples of stories generated by this script:

Darting Stories:
How do I write an epitaph about myself in the first person?.
Through the depths of the water I reflect far and wide.
Hadrian's Wall might have mostly come down, but it's there in spirit.
Mad, that's what they call me.
I crave little more than my freedom, my air, and my land.
I will walk directionless, till the unknown end.
Striving to connect with something natural.
To be continued...

Darting Stories:
At the start, I look for the lights.
What do names matter when worlds whirl together?.
I don't live in a house, where they could watch me.
I live along the Dart but not around the towns where they patrol.
I pass out in the dirt-floored cellar most nights.
Sunlight barely reaches the stone floor.
I am a fervent keeper of horses, ponies and barns.
Websta's brother died in the Dart. Had his throat slit.
The sea is a place I understand is rather nice.
Introvert, extravert, ingreen.
This the most achingly beautiful place to come across a little death.
To be continued...



Darting Stories:
Stories run off the Moor with it's river waters.
I stride up hill holding hands with a friend named for the greatest flower.
William, sweet or otherwise, has never been my name.
I scare their dogs by trying to speak with them in their own language.
Graceless truths of tears clutch at the mirage in my room.
The ponies look more listless and less majestic.
It gets so muddy here; no wonder all the cows around here are brown.
The wind gives the landscape something of a facial peel.
Splash water into mud, trip me.
Smouldering timber and melancholy permeate my lungs. I stick to the path.
This the most achingly beautiful place to come across a little death.
To be continued...



Darting Stories:
On this hill the world as we know it collided.
Intoxicating tongues speak of Giants, Merlins, Padfoots and Beasts.
Geoffrey of Monmouth's accounts are unfounded, possibly fabricated.
The clay on the wheel beneath my fingers, whirling a world on its axis.
William, sweet or otherwise, has never been my name.
I crave little more than my freedom, my air, and my land.
I don't live in a house, where they could watch me.
I live along the Dart but not around the towns where they patrol.
I will walk directionless, till the unknown end.
I am a fervent keeper of horses, ponies and barns.
To be continued...

Darting Stories:
Stories run off the Moor with it's river waters.
I will walk directionless, till the unknown end.
Fear and bliss live with me and the room contains me.
Websta's brother died in the Dart. Had his throat slit.
Black looms in the distance, the air thick with distaste.
The Waters of the Dart run across stones fallen from foreign clouds.
Map the most important places around the River Dart.
Exmoor, outmore, out the door, more doors.
More floor, less flaws, less cause, pour, pore, sweat, regret.
Skip over Kandinsky pavement, follow the water.
Flotsam on a tidal river is a strange mixture of oak leaves and seaweed.
To be continued...
. . . . .

DARTING: A Collective Story Map

Over a period of five weeks a collective of writers of the River Dart worked collaboratively on a web-based writing project about the River Dart and the history - fictional or otherwise - of Dartington Hall. A series of short texts were written separately, for zines, postcards and blog posts. These texts were then collected, found texts and images were added, and all were collated onto this Google Map:

http://maps.google.com/maps/ms?ie=UTF8&t=h&msa=0&msid=109811778856642161490.00046c5ac479d9ec8655d&ll=50.443513,-3.841095&spn=0.538733,1.454315&z=10




For more information on how the writers of the River Dart came to collectively create DARTING: A Collective Story Map, visit their blog: http://dartingmap.blogspot.com/
. . . . .

To See The Sea

On a clear day, and there aren't very many of those, from a spot at the top of the drive you can see south to the sea. This is confusing, because the sea appears to float above a wave of hills. A thin strip bluer than the sky.

Lower down the drive, a view of the River Dart opens north to Totnes. I would say this driveway boasts the best views in England, but so far it's the only driveway in England I'm familiar with.



[The Dart from the Sharpham Drive, North to Totnes]

Sometimes I lie awake and think about the river carving its path through the night, north to Totnes, south to Dartmouth. North to the Dartmoor, south to the sea.

Amanda said, For some reason I imagine if you're thinking about it you can hear it and the thought of the sound of a river makes me happy today.

Linda said, I went for a walk by the ocean yesterday, the sound and smell makes me happy, too.

I can't hear the river from the house, but I can see it from the bedroom. Last week there were gale force winds and rain for two days. When the storm stopped in the night the silence was so sudden it woke me. I lay awake and thought about the rain-swollen river opening its muddy mouth to the sea.

On Sunday I said, I'm going to the seaside to see the sea.

Sonia said, Please do sell some sea shells.

I confessed to Sonia that I was sorely tempted to wheel a wheelbarrow through streets wide and narrow singing cockles and mussels alive alive oh. But, this being Devon, there were no streets wide, only narrow.

Nora said, How bout a beautiful pea-green boat?

There are Owls roosting all up and down the River Dart. But no Pussycats.

And I am a Carpenter, after all. As such, I assured Nora, when the Walrus said, "The time has come to talk of many things," I immediately brought up the subject of the beautiful pea-green boat, but he kept going on about shoes and ships and sealing-wax, cabbages and kings and why the sea is boiling hot and whether pigs have wings.



[The sea at Blackpool Sands, South to Slapton Ley]

This photo of Blackpool Sands came out kind of dark. Possibly because the beach has black in its name. And, although the sun was shining on the sea, shining with all his might, this was odd, because it was the middle of the night.

The Walrus and I were wearing wellingtons and walking close at hand; we wept like anything to see such quantities of sand.

Nora wondered, as did the Walrus, ..if seven maids with seven mops swept it for half a year, do you suppose that they could get it clear?

Wait, I said to Nora. Is one of those maids my Bonnie? My Bonnie lies over the ocean, and, if you've seen her, could you please bring back, bring back, bring back my Bonnie to me, to me?

The Bonnie bit may seem a bit tacked on after that Walrus and Carpenter bit, but Amanda, Linda, Sonia and Nora all lie over the ocean, and that's what made me think of it.
. . . . .

E-Writer in Residence, Dartington Campus, UCF

This fall I am the Performance Writing E-Writer in Residence at University College Falmouth's Dartington Campus, located on the Dartington Hall Estate, a 1,200 acre mixture of arable and pastoral farmland, woodland, residential and commercial accommodation. Written records of this site do not begin until the thirteenth century, but there is evidence of considerable activity in the area during the Roman occupation and the manor of Dartington is mentioned in a Royal Charter of 833 AD. The buildings and structures situated on the estate range in age from Deer Park Wall and Earth Works at North Wood which date from the Bronze and Iron Ages, to the main Hall which was built in 1388, to those properties which were built by the Elmhirsts in the 1930s, 1940s and 1950s. The site has been continuously occupied for well over a thousand years, but this is the last year that Performance Writing will be located here, so I feel most fortunate to be here at this time.



My duties at E-Writer in Residence mostly involve sitting in my office, working on my work. The above photo is not a view from my office, thankfully, or I'd be too busy staring out the window to get any work done. One of my favourite things about the campus is how, to get from one side of it to the other, you have to walk across part of a cow pasture with actual cow pats in it (not pictured). I do this sometimes just to go to the library to visit the copy of my novel that they have there. I'm also leading an electronic literature workshop with the Performance Writing undergraduates, with a concentration on literary mapping. And I'll do a public reading on the Dartington Campus Thursday 3 December, 7.30pm in Studio 3 (free). This will be the last in a series of three performances dedicated to readings featuring innovative and dynamic writers. For more information on this event, visit The Arts at Dartington.
. . . . .

LANCEMENT - LE LIVRE DE CHEVET

If I were in Montreal tomorrow evening, Wednesday, November 11, from 5 pm to midnight, I would be at Librairie Le Port de Tête (262 Mont-Royal E) for the long awaited launch of Le Livre de Chevet. In English, this book might go by the name The Bedtime Book of Falling Asleep. In it are gathered powerfully hypnotic, narcotic and somnambulic texts from 24 writers. I have contributed a text called Les huits quartiers de sommeil. Those of you already familiar with La Table de Matières productions (design by Feed) will have an inkling of how gorgeous this book is. www.latabledesmatieres.com

Le mercredi 11 novembre prochain, de 17h00 à minuit, LE LIVRE DE CHEVET, troisième et ultime ouvrage de la collection La table des matières, apparaîtra de ce côté ci du sommeil, au Port de tête, librairie sise au 262, Avenue du Mont-Royal Est. Il est publié à l'enseigne du Quartanier.

Vous êtes conviés à son lancement, qui est aussi celui de deux ouvrages amis, et anglais, EXPEDITIONS OF A CHIMAERA, livre bicéphale de Oana Avisilichioaei et Erin Moure, et THE ROSE CONCORDANCE, d'Angela Carr, tous deux publiés par l'éditeur torontois BookThug. Si LE LIVRE DE CHEVET était anglais, il s'intitulerait THE BEDTIME BOOK OF FALLING ASLEEP, mais non.

Quelques précisions et encouragements: il y a deux années et demi que je travaille à la réalisation, avec mes complices du studio FEED, du LIVRE DE CHEVET. L'ouvrage, qui fait suite à CITÉ SELON, sur la ville (il faut bien habiter quelque part) et LA TABLE DES MATIÈRES, sur la nourriture (il est mieux de manger quelque chose) est encore une fois consacré à un sujet véritablement universel, accessible à tous, grand public et tout : dormir. Les deux ouvrages précédents se sont mérités quelques trophées de design, ce qui aide ou n'aide pas les ventes, on ne le sait pas vraiment.

Lorsqu'elle se penche sur des sujets d'intérêt public comme le sommeil, la littérature, contrairement à ce que l'élite populiste voudrait nous faire croire, apparaît comme l'affaire de tout le monde. Vous entendez le langage passer en vous? Maintenant, voyez comme il peut avoir fière allure, lorsque vous vous y attardez un peu plus. D'ailleurs, le conseil d'administration de La table des matières croit fermement que tout le monde, et surtout les insomniaques, peut trouver son compte dans LE LIVRE DE CHEVET: le livre, dont le papier est doux comme la lumière d'une veilleuse, plaira même à ceux qui préfèrent ne pas lire.

LE LIVRE DE CHEVET, comme une princesse de conte, a sommeillé longtemps, s'additionnant peu à peu la substance rêvée de 24 textes, librement associés à 12 collages (Annie Descôteaux) et 12 dessins (Pol Turgeon), 2 paysages improbables (Annie D et Pol T), 2 schémas, 4 photos (Daniel Canty) et 24 calligraphies (Léon Lo), le tout distribué sur 240 pages dont la substance emprunte à celles du jour et de la nuit. Vous verrez. Les littérateurs vous l'avaient dit: la nuit est parfois d'encre. Et on verra, grâce au LIVRE DE CHEVET, qu'elle sait tomber partout, même entre les pages d'un livre. Les fantasmes d'un pornocrate sans emploi, dans un cahier à la tranche scellée, étanche à la curiosité infantile (sauf si l'enfant est habile et sait manier le couteau), complètent le tout.

LE LIVRE DE CHEVET ressemble à un livre pour enfant qui aurait grandi, mais qui se souvient, oh se souvient, des nuits passées à rêver la vie à venir, à la lumière d'une lampe de poche.

La lumière est comme de l'encre.
Tout ce que je dis est vrai.
Vous êtes des dormeurs.
Soyez des nôtres.

//Lancement//
-
LE LIVRE DE CHEVET
EXPEDITIONS OF A CHIMAERA
THE ROSE CONCORDANCE
-
De 17h à minuit, le mercredi 11 novembre,
au Port de Tête, 262, Mont-Royal est
Lectures entre 19h et 20h
Concert de fin de soirée: 44 Ensemble
-
Visitez www.latabledesmatieres.com


. . . . .

The Network as a Space and Medium for Collaborative Interdisciplinary Art Practice

J. R. Carpenter will present Tributaries & Text-Fed Streams: A Feed-Reading of The Capilano Review at The Network as a Space and Medium for Collaborative Interdisciplinary Art Practice in Bergen, Norway, November 8-10, 2009.

This conference will focus on the increasing use of the network as a space and medium for collaborative interdisciplinary art practices including electronic literature and other network based art forms. Researchers will present papers exploring new network-based creative practices that involve the cooperation of small to large-scale groups of writers, artists, performers, and programmers to create online projects that defy simple generic definitions and disciplinary boundaries. Topics might include online collective narratives, durational performances, evolving networked publication models, creative commons and open source art, remixes, and mashups. The seminar will be organized by the LLE Digital Culture group and will invite contributions from about 20 international researchers and artists. In addition to the scholarly seminar Nov. 9th and 10th at the University of Bergen, two evening programs will take place Nov. 8th and 9th at Landmark Café at Bergen Kunsthall, to showcase innovative work and will be open to the public.

Tributaries & Text-Fed Streams: A Feed-Reading of The Capilano Review explores the formal and functional properties of RSS, using blogging, tagging and other Web 2.0 tools to mark-up and interlink essays and to insert additional meta-layers of commentary in order to play with, expose, expand upon, and subvert formal structures of writing, literature, and literary criticism. In February 2007 The Capilano Review, a literary journal based in North Vancouver, published an issue dedicated to new writing and new technologies. TCR 2-50 "Artifice & Intelligence" was guest-edited by Andrew Klobucar and included essays by: Andrew Klobucar, Global Telelanguage Resources, Sandra Seekins, Kate Armstrong, David Jhave Johnston, Laura U. Marks, Sharla Sava, Kevin Magee, Jim Andrews, Gordon Winiemko, Nancy Paterson and Darren Wershler-Henry. Tributaries & Text-fed Streams: A Feed-Reading of The Capilano Review is a personal, experimental and playful rereading of and response to these essays by Montreal-based writer and web artist J.R. Carpenter, commissioned by The Capilano Review and curated by Kate Armstrong.


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A Reading at Sharpham House - November 3, 2009

Hosted by Alice Oswald

Tuesday, November 3rd 2009 at 19:30 Sharpham Centre.

Alice Oswald will welcome and introduce J R Carpenter, a Canadian novelist, short story writer and web writer based in Montreal. She is the winner of the QWF Carte Blanche Quebec Award (2008), the CBC Quebec Short Story Competition (2003 & 2005), and the Expozine Alternative Press Award for Best English Book for her first novel, Words the Dog Knows, which was published by Conundrum Press in 2008. Her electronic literature has been presented at the Musée de Beaux-arts (Montréal), the Museum of Contemporary Canadian Art (Toronto), The New Museum of Contemporary Art (New York), Jyväskylä Art Museum (Finland), The Web Biennial 2007 (Istanbul), Cast Gallery (Tasmania), and in the Electronic Literature Collection Volume One. She serves as President of the Board of Directors of OBORO, an artist-run gallery and new media lab in Montreal, and is currently the E-Writer-in-Residence at Dartington College UCF.



You are warmly invited to bring a poem to read aloud.
7.30pm in the Octagonal Room, Sharpham House. Donations please
http://www.sharphamtrust.org/
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