Dear Friends--
I thought you might get a kick out of this--
the following piece of "Fluxus Street Theater Perspective"
at my blog
is linked at Silliman's blog
and then in the archives/bibliography so far re The Grand Piano series of books
which Barrett Watten just announced he has been assembling-
what makes it a bit ironic is that in the piece by A G Vidiamodopo at my site--
he writes of the purpose/result of the series is to be participant in
the archives of the archives of the works of the various Grand
Pianists and the movement/group to which they belong
so the critique of course is predicting exactly what has happend over
a month after it originally appeared
you see, Fluxus is ahead of the game!
if you see the piece you will understand its Fluxus nature and the
tribute to Maciunas involved
the link is given below
via Silliman's link to it--
also included below is a letter written by the Professore Vidiamodopo
in which he responds to and explains that Silliman's name for the link
to the site of mine
says
"Taking the Grand Piano Literally"
hence the Professore's reply, in which he points out that only a
literal reading of the piece will produce such a literal take on it-
for it is written with in mind the dictum of Rimbaud, that its
meanings are to be taken "literally AND IN EVERY SENSE"
> The piece is archived thusly,very officially & archivally:
> 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).
here is the note from B. Watten:
>
> Grand Piano updates
>
> Barrett Watten
> UB Poetics discussion group
> 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
>
>
Here is the piece linked at Silliman's Blog:
> "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
>
> --
>
And here the reply to the blog of Silliman's entitling of the link,
sent to him & buffalo list:
>
>
> A Letter to Ron Silliman from Il Maestro G.A. Vidiamodopo re "Grand
> Piano de Parole in Liberace"
>
> from David Chirot
> to
> UB Poetics discussion group ,
> 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 Vidiamodopo, 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 repetition of this word
> is in order to underline my need to overcome its loneliness--I want to
> point out that my interpretation 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 assessment 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 "Friendly
> 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 predecessors 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 "Friendly 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 examination of the
> presented materials.
>
> In Parole Siempre 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.
