Open City’ [artists’ pages]

In a series of word-and-image pages, we reflect on our site visit to the Open City in Valparaiso, Chile. Situated in the sand dunes just off coast of the Pacific ocean, this radical pedagogical experiment was founded in 1971 by the Chilean architect Alberto Cruz and Argentinean poet Godofredo Iommi. Open City is as much a school as it is an urban laboratory and the embodiment of a utopian ideal. Here architecture is constructed on a foundation of poetry and shifting sand and we, as students of the Open City, examined the place in detail. Here we present our findings through a loose taxonomy: a configuration of words and lines; a cifra reflective of our study of site that marks the beginning of our story of Open City

2005 Wild Blueberry Project Reports

The 2005 edition of the Wild Blueberry Project Reports was prepared for the Wild Blueberry Commission of Maine and the Wild Blueberry Advisory Committee by researchers at the University of Maine, Orono. Projects in this report include: 1. Evaluation of Emerging Disinfections Technologies for Wild Blueberry Processing 1A. Incorporation of wild blueberry puree into a soy-based burger and its effect on sensory and chemical properties of the broiled burgers. 2. Incorporation of wild blueberry puree into a soy-based burger and its effect on sensory and chemical properties of the broiled burgers 3. Wild blueberries and Arterial Functional Properties 4. Practical Microbial Control Approach and Antimicrobial Properties Study for Wild Blueberries 5. Wild Blueberries Reduce Risks for Cardiovascular Disease –No Report at this time, data is still under analysis. 6. Irrigation Water Use in Wild Blueberry Production 7. Control Tactics for Blueberry Pest Insects, 2005 8. Integrated Pest Management (IPM) strategies, 2005 9. Control Tactics for Blueberry Pest Insects, 2005 10. The Effect of Fungicides and Cultural Treatments on Monilinia Blight, Yield and Post-Harvest Disease in Wild Blueberries 11. Effect of Soil pH on Nutrient Uptake 12. Effect of Manganese on Growth and Yield of Wild Blueberry 13. Raising Foliar Nitrogen by Application of CoRoN 14. Effects of Summer Foliar Fertilization to Increase Branch Length and Flower Bud Formation in the Prune Year 15. Assessment of Hexazinone Alternatives for Weed Control in Wild Blueberries and Field Cover Program Base 16. Evaluation of Fall Applications of Tribenuron Methyl for Bunchberry Control in Wild Blueberries 17. Evaluation of spot treatments of Tribenuron Methyl for weed control in Wild Blueberries 18. Evaluation and Demonstration of Techniques for Filling in Bare Spots in Wild Blueberry Fields 19. Assessment of Evitol and Kerb for Sedge Control in Wild Blueberrie

2006 Lowbush Blueberry Project Reports

The 2006 edition of the Lowbush Blueberry Project Reports was prepared for the Wild Blueberry Commission of Maine and the Wild Blueberry Advisory Committee by researchers at the University of Maine, Orono. Projects in this report include: 1. Evaluation of Emerging Disinfection Technologies for Wild Blueberry Processing 2. Incorporation of wild blueberry puree into a soy-based burger and its effect on sensory and chemical properties of the broiled burgers 3. Infestation Detection using NIRS 4. Mechanism of Action through which Wild Blueberries affect Arterial Functional Properties in Normotensive and Spontaneously Hypertensive Rats 5. Practical Microbial Control Approach for Wild Blueberries and their Antimicrobial Property 6. Wild Blueberry Consumption and Risks for Cardiovascular Disease 7. Irrigation Water use in Wild Blueberry Production 8. Control Tactics for Blueberry Pest Insects & Program Base 9. Integrated Pest Management (IPM) Strategies 10. Biology and Ecology of Blueberry Insect Pests, 2006 11. Research on Wild Blueberry Diseases for 2006-2007 12. Effect of Soil pH on Nutrient Uptake 13. Effect of Manganese on Growth and Yield of Wild Blueberry 14. Effects of Summer Foliar Fertilization to Increase Branch Length and Flower Bud Formation in the Prune Year 15. Effects of Phosphite Foliar Fertilizers on disease control and fruit set of wild blueberry 16. Assessment of Hexazinone Alternatives for Weed Control in Wild Blueberries 17. Evaluation of Fall Applications of Tribenuron Methyl for Bunchberry Control in Wild Blueberries 18. Evaluation of spot treatments of Tribenuron Methyl, Ultim and Roundup for weed control in Wild Blueberries 19. Blueberry Extension Education Program 20. Cultural Weed Management Using p

Lyrical Encounters: The Material Poetics of Emily Dickinson's Later Manuscript Pages

The later manuscripts of Emily Dickinson are distinct in that, unlike the poems written before 1875 – poems that Dickinson would transcribe onto clean bifolium sheets of paper and then either bind or group together into ‘fascicles’ and ‘sets’ – these later poems and poetic fragments have been left in their ‘worksheet’ state; that is, scripted onto scraps of paper, the backs of envelopes, bits of newspaper cutting and the like. Exploring the unique material and spatial qualities of Ms. A449, ‘The vastest earthly day,’ I examine how these relate to a writerly and readerly performance of the poems scripted therein. My aim in doing so is to discover how meanings are generated through what I call Dickinson’s material poetics. My writing, structured through an intimate engagement with each page, is informed by the following line of inquiry: What meanings emerge through a sustained engagement with the material and spatial properties of the page in relation to its verbal message? How does such an engagement span the distance and difference between the poet-in-process in one spatiotemporal context and myself in another, critically engaging with the traces of Dickinson’s scriptural ‘voice’? How does this, in turn, cultivate an embodied subjective relationship between the discursive ‘I’ and ‘you’? Such questions are indicative of my wider aim, which is to evince a nuanced appreciation of lyricism premised upon an embodied and relational encounter between a discursive ‘I’ and ‘you.

Time, Space and Empathy: A Material Poetics of the Film Image

This paper looks at a theory and practice of the film image as it figures in the writing and film work of acclaimed Russian filmmaker Andrei Tarkovsky, with specific reference to the film Nostalghia (1983). In his writing, Tarkovsky identifies what is unique to his concept of the film image through an emphasis on time. This emphasis is evidenced in Tarkovksy’s film work through his signature style of the long take and tracking shot – both a means of, to borrow his words, ‘imprinting time’ onto the frame. Imbued with a sense of time, I argue, the film-image gives rise to a corporeal understanding of place, and this is the basis for appreciating a phenomenology of the film image in relation to place. In light of Luce Irigary’s feminism I then ask: how does sexual difference, as an existential and biological ‘given,’ inform this corporeal understanding of place and, in turn, affect our theorisation of the film image? Crucially, Tarkovsky predicates his discussion of the film image on the poetic image, thereby suggesting that not only time and filmic syntax, but also the symbolic properties of the poetic image are intrinsic to the complexity of meaning in the film image. This is evidenced by Tarkovsky’s own manipulation of the symbolic properties of word, image, object and gesture in his films. In the second part of this paper, I explore how the symbolic properties of the poetic image combine with the material properties of the film image, and to what effect. In doing so, I address the theme of this conference strand: ‘Why Poetry Matters’

Projecting the Voice: Theresa Hak Kyung Cha's Passages Paysages

Theresa Hak Kyung Cha’s video and sound installation Passages Paysages (1978), sets up a scene of address where I, as the listener-viewer-reader, effectively become the artwork’s site of reception, a ‘you’ receiving fragments of a life story – shown to me, told to me – that I am entreated to reciprocally recollect. The artwork’s compulsively repetitious and performative act fabricates a self-representation marked by opacity both at the level of its narrative and at the level of the cinematic apparatus itself: its technical shifts from photographs and stills into slides, slide projections into video recordings, video into the materiality and spatiality of the video screens spatialised in relation to the listener-viewer-reader. In this paper I argue that the artwork communicates in and through this opacity while I, as the listener-viewer-reader confronted by that which I do not fully comprehend, have a desire to understand. Engaging in an act of ‘critical performance’ that draws upon Jane Rendell’s practice of ‘site-writing’ I work intimately and subjectively with Passages Paysages by first developing a series of images in relation to Cha’s artwork that recall for me my experience of it, in situ. Using these images as springboards for discussion I ask: How does Passages Paysages enact a form of self-representation through a polyphony of ‘voice’? How is this polyphony of ‘voice’ embodied within the complex cinematic apparatus, and to what effect? Positioning myself as the artwork’s site of reception, ‘you,’ how do I perform, interpret and respond to the coded visual and verbal message(s) of the artwork, as well as to the traces of an absence made visible? Performing and interpreting the artwork, I thus engage in the act of another’s self-making: the poiesis of a life drawn from memory

'Scrap,' 'Flap,' 'Strip,' 'Stain,' 'Cut'

The later manuscripts of Emily Dickinson are distinct in that, unlike the poems written before 1875 – poems that Dickinson would transcribe onto clean bifolium sheets of paper and then either bind or group together into ‘fascicles’ and ‘sets’ – these later poems and poetic fragments have been left in their ‘worksheet’ state; that is, scripted onto scraps of paper, the backs of envelopes, bits of newspaper cutting and the like. Exploring the unique material and spatial qualities of five of Dickinson’s later manuscripts, I examine how these relate to a writerly and readerly performance of the poems scripted therein. My aim in doing so is to discover how meanings are generated through what I call Dickinson’s material poetics. My writing, structured through an intimate engagement with each page, is informed by the following line of inquiry: What meanings emerge through a sustained engagement with the material and spatial properties of the page in relation to its verbal message? How does such an engagement span the distance and difference between the poet-in-process in one spatiotemporal context and myself in another, critically engaging with the traces of Dickinson’s scriptural ‘voice’? How does this, in turn, cultivate an embodied subjective relationship between the discursive ‘I’ and ‘you’? Such questions are indicative of my wider aim, which is to evince a nuanced appreciation of lyricism premised upon an embodied and relational encounter between a discursive ‘I’ and ‘you.