Entries tagged with archives

Document 30: Digital Archive

archive cover



Wesleyan University Press
announces publication of

Poetics Journal Digital Archive
ed. Barrett Watten and Lyn Hejinian

A complete collection of key texts in the
development of contemporary poetics




Poetics Journal Digital Archive is a resource that re-publishes virtually all of the articles originally published in Poetics Journal, organized alphabetically by author and in searchable form. The archive features indexes by contributors, original publication volume, and keywords.

The archive was designed to be used with A Guide to Poetics Journal: Writing in the Expanded Field, 1982–98, an anthology that includes thirty-six articles selected from the run of the journal, organized in three chronological sections, along with comprehensive introductions by both editors, contextualizing headnotes, publication history, keywords, abstracts, and bibliographies for each article.

Together, the Guide and Archive comprise a print/digital publication that will make the best use of both media. Some of the essays published in the Guide are abridged versions of the originals, and readers will find the complete versions in the Archive. Nearly all the articles published over the life of Poetics Journal are included.

The writing that appeared in Poetics Journal reflects the development of a range of ongoing creative and critical approaches in avant-garde poetry and art. In making this content newly available, we hope to preserve the generative enthusiasm for innovative writing and art it represents, while encouraging new uses and contexts.

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Tonight at MOCAD, San Francisco archive activist Rick Prelinger showed an hour’s worth of material from his vast collection of film images of Detroit from the first three quarters of the 20th century (earliest 1917; latest in the 70s). I attended, along with several hundred other people—the space was full to overflowing. The screening was open to audience participation, and Prelinger, after his opening statement, encouraged vocal responses.

This dynamic made for a unique occasion. To begin with, the range of Prelinger’s material was limited—indeed, its limitations made for a kind of interpretive framework in themselves. We saw clips of downtown and water transport (modernity); the auto industry (mode of production); suburbs (community) and family (reproduction); police work (power); and local landmarks that no longer exist (history). We did not see sufficient images of labor or the black community, as Prelinger noted, likely due to the distribution and use of home movies.

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