Amodern

Amodern 11 · October 2023

BODY AND/AS PROCEDURE

In This Issue

ADRIAN PIPER

Procedure, Intimate Inquiry, Archives

Julia Polyck-O’Neill

Adrian Piper seeks to establish her position in the face of her marginalized identity by developing her work as a kind of broader informational, archival project

ASSIMILATING THE ARTS

On Poetry and Difference in Yoko Ono'sGrapefruit

Keegan Cook Finberg

Yoko Ono’s midcentury instructions offer a response to changing labor practices and renewed forms of racial capitalism after World War II.

ONO OPTICS

ONO OPTICS

Toward a Theory of the Perfectly Unreadable

Jane Malcolm

Yoko Ono was a primary innovator of the event score, a mainstay of procedural poetry from the 1960s and 1970s.

POETIC DIANOIA

Epistemic Injustice and CA Conrad’s (Soma)tics

Stephen Ross

This essay thinks the confluence of two concepts, epistemic injustice and poetic dictation, in the work of CA Conrad.

SHE RIPPLES HAPPILY

SHE RIPPLES HAPPILY

Coding Hormone Care in Porpentine Charity Heartscape’sWith Those We Love Alive

Julie Funk

This article extends this understanding of hormones as communicative agents to variables in computer code.

SPELL AND SURVIVAL TECHNIQUES

Dreams as Procedure in Lyn Hejinian and Jackie Wang’s Poetry

Margaret Ronda

This essay turns to two contemporary poetic texts, Lyn Hejinian’s The Book of a Thousand Eyes and Jackie Wang’s The Sunflower Cast a Spell to Save Us From the Void.

THE DANGER OF THE SITUATION

or, The Indexical Present of Apology in the Performance Artwork of Adrian Piper and Dr. Vaginal Davis

Bellamy Mitchell

This paper traces how the procedural contours of the genre of the apology serve the socially critical and investigative projects of two performance artists who use apologies to navigate, resist, and make politically productive their experiences of being interpolated into white discomfort.

WORLDS WITHOUT AN I

WORLDS WITHOUT AN I

Bernadette Mayer’s Procedural Lyric

Julia Bloch

This essay contends that the site-specific procedural texts of Bernadette Mayer constrain and animate the expressive and cognitive textures of the speaking I.