Skip to main content
Home ×

Grand Piano updates: "Parole in Liberace" Linked by Grand Pianists Watten & Silliman

Chirot, David Baptiste. "Parole in Liberace: The Grand Piano & Its
Accessories-Necessaries Considered from a Fluxus Street Theater
Persepective." Site—Sight—Cite ******* Visual—Sonic—Visceral Poetries.
(25 July 2007).

Grand Piano updates

Barrett Watten <b.watten@wayne.edu>
UB Poetics discussion group <POETICS@listserv.buffalo.edu>
to POETICS@listserv.buffalo.edu
date Sep 9, 2007 9:11 AM
subject Grand Piano updates
mailed-by listserv.buffalo.edu
Note on the publication schedule of The Grand Piano, part 4: due to a
printing error, the volume has been recalled and will reship in late
September. We apologize to our readers and subscribers. Stay tuned for more.

Also, there is now as complete a list as possible of reviews and comments
on the project at:

http://www.english.wayne.edu/fac%5Fpages/ewatten/posts/post34.html#links

as well as an archive-in-process at our website:

http://www.thegrandpiano.org

Barrett Watten


"Taking the Grand Piano Literally"
September 8, 2007
Blog: Silliman's Blog
Link: http://ronsilliman.blogspot.com/2007/09/history-of-lighght-taking-grand-piano.html

--

A Letter to Ron Silliman from Il Maestro G.A. Vidiamodopo re "Grand
Piano de Parole in Liberace"

from David Chirot <david.chirot@gmail.com>
to
UB Poetics discussion group <poetics@listserv.buffalo.edu>,
silliman@gmail.com
date Sep 8, 2007 2:50 PM
subject A Letter to Ron Silliman from Il Maestro G.A.
Vidiamodopo re
"Grand Piano de Parole in Liberace"
mailed-by gmail.com


A friend notified me today that at the Blog of Silliman is a
featured link to the analysis of "The Grand Piano de Parole in
Liberace" in a presentation of Il Maestro G. A. Vidiamodopo.
http://davidbaptistechirot.blogspot.com/2007/07/its-accessories-necessaries-considered.html

As a colleague of Il Maestro in Eternal network of Fluxus Street
Theater d' Il Maestro G. Maciunas I duly passed along the news to
Maestro Vidiamadopo, who in turn sent to me a reply, concerning a
perhaps misreading of his analysis of the "Corrective" Collective
Autobiography as Il Maestro amuses himself by referring to it in the
here and there moments in which he does.
Here the relevant part of the letter to me which Il Maestro
would like me to share with you, esteemed Colleagues, Brothers and
Sisters in the Anarekeyological Actions of Eternal Heraclitean Flux.

"Estimado, El Colonel de Securidad Nacional, Sector
"Languagismo" R. Silliman :

Thank you for the honor bestowed of the selection of my
humble paper for the readership of your often cited Blog, home I hear
to the formation of opinion and shaping of taste with in the
august parlance of baseball fans such as myself, "Friendly Confines"
of the storied laurel vine covered Walls of the stadium of the Grand
Piano of the Collective of the Corrective Autobiography.
It is with many happinesses I find myself among such an
assemblage of the luminaries, eminences grises and laureati of the
laurels of the Lyric Art.
I need however to call attention to one shortcoming in the
formulation of the indication of the existence of my examination of
the Grand Piano di Parole in Liberace.
This is the use of the words "A Literal Interpretation of the
Grand Piano" which must be touched cyber-style to be linked to my
presentation.
Perhaps you have knowledge in the form of the reading of his
works of the poet Jean-Nicholas Arthur Rimbaud? Whether yes or not,
this poet well beloved to the hearts of millions across the spheres of
Poesia, this poet in regards to a question as to the meanings of his
works famously replied:

"They mean what they say, literally and in every sense."

Therefore, rather than confining the illustrious readership
of the blog to the very
narrow "literal" reading which alone could produce the sense that my
piece is a "literal interpretation" alone--the repeition of this word
is in order to underline my need to overcome its loneliness--I want to
point out that my interpretion is like that propounded by the
well-beloved Rimbaud.
In other word, my interpretation is "literal AND IN EVERY SENSE."
That is, it is to be understood in a far more vast "realms
of the senses," to play on the title of a film by the Maestro Oshima.
The examination is in each and every word opening into ever
more areas of the senses in all their senses.
I hope that via these senses the deeper sense of my words may
begin to "make sense" to the readers and yourself of the simultaneous
"amplifying" and "chiseling" of my critique which in its employ of
these methods of the Isouian conception of Lettriste literary
historical periodicity is essaying a far more complex and wide ranging
presentation than that kept narrowly confined within the heretofore
alluded to "Friendly Confines" of a method which can see only that
which is of its own necessity limited to define as a "literal"
"interpretation." that which in fact is not so narrowly confined at
all.
To use a street inflection from the repertoire of the
milieu of the Fluxus Street Theater, El Colonel, in my work I "don't
play that," that being the "literal," for as noted, I am dealing in
the full throated and bodied Rimbaldien expression of the "Literal &
In Every Sense" according to the "long reasoned derangement of the
senses" for in the end to "reach the Unknown."
For its from this Unknown that the positions of the known
may be examined in the methods and manner which I have employed and so
have indeed reached from this Unknown an understanding of the known
which I have presented in my generous assesment of the Grand Piano di
Parole Liberace's achievement, which perhaps you may have missed in a
misreading of my examination as existing solely within the "Freindly
Confines" of your own "literal" reading of that which is not confined
to the literal alone.
Here is the simple conclusion which was reached by the
employment of my methodology, drawing on the teachings and examples of
a great many brilliant predeccessors and colleagues of the present
moment:

Only the finest cabinets are used in the preservation of the
documents, archives, recordings and files of the Grand Piano--

for in preservation in its purest state lies posterity in state--

in archival preservation lies the Grand Piano salvation of the
materialist word--

In sum, my friends and colleagues, by surveying in a
review-examination the cultural-materialist construction for the
presentation and maintenance of the "Grand Piano", one has developed
an awareness of the targeted directions of its discourses, its
performative aspects, as well as its "in-dwellings" as it were.

I think it is safe to say--for in my position I must take into
consideration above all your security--I think it is safe to say that
the object here considered for review-examination is one easily
commanding entry into the data-zones of citation, bibliography and
notes, while also sure to generate further examinations of its
modifications of previously existing versions of the already existing
files under which this particular "Grand Piano" has already been filed
many times over. I find it safe to presume that its revisionings and
revisionisms of extant files will
be of at least a minor interest to those engaged in the minutiae of
this particular trope of a narrowly conceived discursive presentation.

Here it is shown that even with the most "literal" readings from
within the "Freindly Confines" that the "interpretation" is not at all
limited to the "literal" but indeed has been embracing of the "LiTERAL
AND IN EVERY SENSE" and does indeed present a commentary-conclusion
reached by this widely-arrayed Anarkeyological examinition of the
presented materials.

In Parole Seimpre in Liberace,
G. A. Vidiamodopo

Thanking you again for the great honor to be included among the
highlighted links to the various galaxies constellated in your
assemblage for this day.

Politica dei commenti: Si prega di scrivere i vostri commenti in base all'argomento di questa pagina di distacco. I commenti contenenti un collegamento non verranno visualizzati prima dell'approvazione.
Open Comment
Close Comment