MOUTH at KiSSiT

Originally posted on Kingston Shakespeare Seminar (KiSS):

Many have marked upon the amazing vile jellies that were circulated (and eaten and drunk) during and after the first plenary. These were the creation of MOUTH which is an actionist art project in culinary heterology formed in March 2012 by Edia Connole and Scott Wilson. Recent events include: LAND: A Scarcity Banquet for CREATE with Jesse Presley Jones, Cecilia Bullo, Emer Roberts, Kathy Tynan and The Korean Society of Ireland. The Eternal Winter of Festivity, The Other North Symposium, CCA Derry~Londonderry, April 2013; All Fingers and Tongues: Hosting the Divine with Charlie Gere & MOUTH, Break Bread Open, FACT, Liverpool Biennial, October 2012; Melancholia, Messianic Banquets and the 19th Hole, Culture Politics Eschatology: A Symposium, Glasgow University & Lancaster University, The Storey Institute, Lancaster, September 2012. Go check them out on their MOUTH blog.

A certain someone, who updates this blog and Twitter, due to the confusion of their…

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CFP: Fortean Approaches to the Study of Religion (Deadline for Abstracts June 15th 2015)

Originally posted on aporetic:

Currently seeking abstract submissions for inclusion in the following proposed collection:

Damned Facts: Fortean Approaches to the Study of Religion
Edited by Jack Hunter

(Doctoral Candidate, Dept. Archaeology & Anthropology, University of Bristol)

Overview:

Over the course of four intriguing books (The Book of the Damned (1919), New Lands (1925), Lo! (1931), and Wild Talents (1932)), Charles Hoy Fort meticulously collected hundreds of accounts of anomalous events documented in scientific journals and newspapers, including such unusual occurrences as fish falling from the sky, poltergeists, unidentified flying objects, levitations, mysterious objects, disappearances, ball lightning, and so on. Throughout all of his works, Fort employed the philosophy of intermediatism: “that nothing is real, but that nothing is unreal: that all phenomena are approximations in one way between realness and unrealness.” Through this rigorously agnostic epistemology Fort was able to explore some exceedingly strange territory, unearthing phenomena (what he…

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Glossator 9 (2015): Pearl

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The Healing Monsters Cover Reveal!

Originally posted on Despumation Press:

TheHealingMonstersCoverAnd here it is, folks. We’d like to thank Sean Frasier for all of his time, effort, and energy in creating this cover for us. It rules, he rules. This all just rules.

We’ve been busy-busy putting The Healing Monsters together, and by “monster,” I really mean monster. We’re looking at thirty-one authors, and over thirty-one stories and poems–as it stands, we’re looking at at least 450 pages. Should it have been this huge? Probably not. But here’s a fact: too many people wanted to be part of this in order to help out Dustin and Katherine. And when something like that happens, you just don’t cut stuff out for the sake of brevity. Screw that. So, when this puppy goes up sale, and you drop your hard-earned cash for it, you’ll be doing two things: 1) You’ll be contributing to helping out Dustin LaValley with his healthcare costs and…

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MORS MYSTICA: BLACK METAL THEORY SYMPOSIUM APRIL 25TH NYC

Mors Mystica BMTS 77721 Poster

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University of Southern Denmark ‘Mostly Metal’ Seminar Series: ‘What is Black Metal Theory?’

Full details of USD’s ‘The Aesthetics of Musics and Sound “Mostly Metal” Research Seminar Series,’ available HERE (participation is free and welcome via Skype).

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Glossator 11 (2016): Marianne Moore – CFP

Originally posted on Glossator:

poetry

Marianne Moore’s indictment of her own craft remains to this day a shrewd affront to critical exegesis. Piqued by ‘the immovable critic’, she treads a fine line in ‘Poetry’ between approbation and displeasure, a feeling entangled in the confession that ‘we do not admire what / we cannot understand’. Notwithstanding her penchant for axioms of this sort, Moore inclines elsewhere to a mode of expression that is dense, riddling and allusive; a poetics fit for sustained ‘inspection’, perhaps, but one whose fluid textual condition also resists ‘high sounding interpretation’. Given Moore’s tendency to revise published material – shuffling, redacting, reworking, restoring – it has often been difficult to say what ‘all this fiddle’ amounts to.

In taking Moore’s doubts about interpretation seriously, this special issue of Glossator proposes a broad approach to her verse and the stylistics of commentary. Glossing, annotating, doodling, and footnoting – Moore was always sensitive to…

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