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LIGHGHT READING WITH ED STECK
An excerpt from An Interface for a Fractal Landscape by Ed Steck, followed by a questionnaire. Steck will be reading at Lighght Reading on Friday, May 22 at Unnameable Books in Brooklyn, NY, along with Mariana Valencia.
On the side of the mountain, unseen, is
a naturally occurring un-natural light
source independently emanating from
the numeric representation of light. In
vast programming, void of true locale,
geography is a binary construct — in a
virtual world, to users, geography is an
antecedent model to tele-user functions
(a landscape is a mirrored avatar). A
porous, recursive generated terrain
spawns porous, recursive users
—regenerating bodies onto landscape.
Mountain inertia impacts atmospheric
density. Memory of natural landscape is
humorous: entropic forestry against
intra-horizons, dissolved seine-waves,
arcades of frozen screens, all littering
comedic matters. Transcendentalism is
a crudely sculpted bowl; wonder is a
crudely sculpted bowl: natural fantasy,
to a degree, is the eye-less hollow of a
newly looked upon generated world —
mindless matter and energy un-lighted
by the wonders of the human mind.
What is poetry?
Poetry is anything other than itself.
What poets/writers/artists do you keep coming back to?
Recently I’ve been working on projects that are responses/continuations/ translations of readings/viewings/misreading/perceptions of different work(s)(amongst other things) so I’ve been doing a lot of returning lately (I’ll be happy when I’m done with all of the returns, honestly) and its very cyclical. But, generally: Ronald Johnson’s ARK, lots of Samuel R. Delaney’s shorter sentences (specifically, and even more specifically: Babel-17), PKD, Tan Lin’s Seven Controlled Vocabularies, films of Maya Deren, Robocop 1 & 2, Steven Parrino’s work, Earth “2” (the greatest album ever recorded), Olivier Mosset’s work, Mike Kelley and Destroy All Monsters, Jutta Koether’s work, the novels of W.G. Sebald, Agnes Martin’s paintings/drawings (sick of saying “work” after everything), Rob Fitterman & Vanessa Place’s Notes on Conceptualisms and Lucy Lippard’s Six Years: The Dematerialization of the Art Object (those are just some great books), the writings and work of Robert Smithson (very monumental to me [pun intended]), Walter Benjamin’s The Arcade Projects (this is a “return to” book, not necessarily a “to read” book), Henri Bergson’s Matter and Memory, Heimrad Bäcker’s work, the writings of Paul Virilio, Motorhead, Darkthrone, GISM, Discharge, Death, Blasphemy, the writings of the Critical Art Ensemble, and a bunch of Semiotext(e) junk.
What do you think when you see the word lighght?
I see some kind of failed recursion or hear some kind of stalling sound.
Which new writers and/or small presses are you excited about?
I wish I knew more new writers and small presses to be excited about actually. I don’t know any new small presses. Despite being connected via the WWW, I still feel a lot of distance from being exposed to the work of new writers due to my geographical location (and also maybe the information bubble that controls the span of my Internet search engine results). Truthfully, I waste a lot of my time on the Internet looking up and listening to truly awful metal and punk groups (Swallowed’s Lunarterial is absolutely incredible, highly recommended). Some things I want to check out or have checked out and dug in the last number of months or months to come: Elaine Kahn’s Women in Public, Steven Zultanski’s Bribery, Mark Johnson’s transcription of Yellow Highlighter, the bits I’ve read from Aaron Winslow’s to-be-released material, Joseph Mosconi’s work, some of the chapbooks/books I got by Diana Hamilton, Charity Coleman’s Julyiary, Anselm Berrigan’s Pregrets, Dan Owen’s chapbook, Lawrence Giffin’s piece at orworsepress.net, Josef Kaplan’s thing coming out on Wonder, and The Green Ray by Corina Copp.
Ed Steck is the author of The Garden: Synthetic Environment for Analysis and Simulation (UDP, 2013), sleep as information/the fountain is a water feature (Center for Ongoing Research and Projects, 2014), The Rose (with Adam Marnie, Hassla Books, 2014), Door Graphic Data Recovery (orworse, Summer 2015), and Far Rainbow (Make Now, Fall 2015). He is currently working on a piece titled An Interface for a Fractal Landscape, and a project on low-budget horror movies consisting of essays and a long poem.