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"Recording the event say, I am the event."
The event represents the lyrical, but an attempt at defining the event endlessly defers meaning-poetry readings, death, belonging, the digital and- Post-Mortem of the Event is a cyclical archive that twists back to recorded readings of Klara du Plessis's earlier Hell Light Flesh and leans forward to invoke a still unwritten manuscript. Here poetic composition encompasses audiovisual media, transcription, wave form visualization, and digital humanities and interdisciplinary methods. With the maturity of three previous collections, Du Plessis presents a brilliant expansion of her musical yet essayistic poetics. "Recording the event say, I am the event."
The event represents the lyrical, but an attempt at defining the event endlessly defers meaning-poetry readings, death, belonging, the digital and- Post-Mortem of the Event is a cyclical archive that twists back to recorded readings of Klara du Plessis's earlier Hell Light Flesh and leans forward to invoke a still unwritten manuscript. Here poetic composition encompasses audiovisual media, transcription, wave form visualization, and digital humanities and interdisciplinary methods. With the maturity of three previous collections, Du Plessis presents a brilliant expansion of her musical yet essayistic poetics. Klara du Plessis' Post-Mortem of the Event is a stunning record of a moment, of a sound, of a gathering of bodies and voices. A document of affect and replication, of the silk and mythology of waves and .WAVs. This is a book to be heard, to be listened to, as much as it is to be read "Recording the event say, I am the event."
The event represents the lyrical, but an attempt at defining the event endlessly defers meaning-poetry readings, death, belonging, the digital and- Post-Mortem of the Event is a cyclical archive that twists back to recorded readings of Klara du Plessis's earlier Hell Light Flesh and leans forward to invoke a still unwritten manuscript. Here poetic composition encompasses audiovisual media, transcription, wave form visualization, and digital humanities and interdisciplinary methods. With the maturity of three previous collections, Du Plessis presents a brilliant expansion of her musical yet essayistic poetics.
The event represents the lyrical, but an attempt at defining the event endlessly defers meaning-poetry readings, death, belonging, the digital and- Post-Mortem of the Event is a cyclical archive that twists back to recorded readings of Klara du Plessis's earlier Hell Light Flesh and leans forward to invoke a still unwritten manuscript. Here poetic composition encompasses audiovisual media, transcription, wave form visualization, and digital humanities and interdisciplinary methods. With the maturity of three previous collections, Du Plessis presents a brilliant expansion of her musical yet essayistic poetics. "Recording the event say, I am the event."
The event represents the lyrical, but an attempt at defining the event endlessly defers meaning-poetry readings, death, belonging, the digital and- Post-Mortem of the Event is a cyclical archive that twists back to recorded readings of Klara du Plessis's earlier Hell Light Flesh and leans forward to invoke a still unwritten manuscript. Here poetic composition encompasses audiovisual media, transcription, wave form visualization, and digital humanities and interdisciplinary methods. With the maturity of three previous collections, Du Plessis presents a brilliant expansion of her musical yet essayistic poetics. Klara du Plessis' Post-Mortem of the Event is a stunning record of a moment, of a sound, of a gathering of bodies and voices. A document of affect and replication, of the silk and mythology of waves and .WAVs. This is a book to be heard, to be listened to, as much as it is to be read "Recording the event say, I am the event."
The event represents the lyrical, but an attempt at defining the event endlessly defers meaning-poetry readings, death, belonging, the digital and- Post-Mortem of the Event is a cyclical archive that twists back to recorded readings of Klara du Plessis's earlier Hell Light Flesh and leans forward to invoke a still unwritten manuscript. Here poetic composition encompasses audiovisual media, transcription, wave form visualization, and digital humanities and interdisciplinary methods. With the maturity of three previous collections, Du Plessis presents a brilliant expansion of her musical yet essayistic poetics.