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Silliman Ron:     more books (76)

Paper Air Magazine, Volume 2, Number 3 by Gil (Ed.); Charles Bernstein; Ron Silliman; Rosemarie Waldrop Ott, 1979-01-01 NOX by Ron SILLIMAN, 1974 Salt Lick; Volume 2, Numbers 1 and 2. by James, Editor, Bruce Andrews, Ron Silliman, Michael Lally Et Al Haining, 1972-01-01 Xconnect: Writers of the Information Age by Linh Dinh, Kimiko Hahn, et all 1999 SOCIALIST REVIEW: VOL. 18, NO. 4 by Melia Franklin and Michael Rosenthal, Eds. Ron Silliman, 1988-01-01 Cynthia Miller [April 24-May 31, 2008] by Cynthia, Ron Silliman, Jennifer Duffy (essays) Miller, 2008-01-01 SOCIALIST REVIEW: VOL. 18, NO. 1 by Melia Franklin and Michael Rosenthal, Eds. Ron Silliman, 1988-01-01 Tottel's, June 1971 (#3) Socialist Review (Volume 18, Number 1) Tottel's, October 1971 (#6) SOCIALIST REVIEW: VOL. 18, NO. 2 by Melia Franklin and Michael Rosenthal, Eds. Ron Silliman, 1988-01-01 Tottel's, December 1971 (#7) SOCIALIST REVIEW: NO. 96: VOL. 17, NO. 6 by Ed. Ron Silliman [et al], 1987-01-01 Tottel's, July 1971 (#4)

lists with details

61. Ron Silliman - From NON
    by ron silliman. Protomallie the flaneur. copyright 1993 ron sillimanUNDER - a new section of The Alphabet by ron silliman at GRIST On-Line  
    http://www.thing.net/~grist/golpub/golmag/gol1/fromnon.htm

62. GRIST On-Line #6 - Ron Silliman
    from UNDER a new section of The Alphabet} for Krishna Evans. by. ronsilliman. The Eliot. . © 1994 ron silliman. from NON by ron silliman.  
    http://www.thing.net/~grist/golpub/golmag/gol6/g6sillim.htm
    
    Extractions: for Krishna Evans by Ron Silliman The word as ground, sounded and scratching, etching detail, retching in the throat, crosses a moat of air to where you are found, unfurling now into a separate banner, banter, colors I'd never recognize as my own. In my mind, I try to trace when I might have lost the notebook, the moment it must have slipped from my pocket, where it must have gone. Melody of the windchimes' dance. The day after a large party, tables are still pulled together in the dining room, every straight-backed chair in the house is there. Undercurrent of sadness: we don't admit out loud how long it will be before we see one another again. The children gather round to see the ultrasound photos of forthcoming cousins. As I read aloud from Zukofsky, you say, "That sounds like Dr. Seuss." Ream of Crete. When I tell my nephew I'm going to Tennessee tomorrow, he says, "That's where Davy Crockett was born." History as heroes narrows the story. The man who patented the polygraph also created Wonder Woman. Among the red-assed baboons, what distinguishes the dominant male is not simply the architecture of his anus, but the long grey mane, lion-like, though pacing the hill he walks more like a dog. I can get it for you retail. Behind the state capitol is a rough neighborhood. Constant fan of hotel air conditioning. In the cafe, the headwaiter keeps trying to refill coffee into my cup of tea. Hazy humid morning over the Cumberland River.

63. Circulars: Whom Bomb?
    Posted by ron silliman at March 03, 2003 0147 PM. Comments. Very nicewebsite. Posted by Jason on November 29, 2003 0748 AM. Nice site.  
    http://www.arras.net/circulars/archives/000258.html

64. Circulars: Ron Silliman: Barbarians
    April 04, 2003. ron silliman Barbarians More in silliman s Blog. Postedby ron silliman at April 04, 2003 0707 AM TrackBack. Comments.  
    http://www.arras.net/circulars/archives/000479.html
    
    Extractions: Comments This back and forth is an important concept to understand in C programming, especially on the Mac's RISC architecture. Almost every variable you work with can be represented in 32 bits of memory: thirty-two 1s and 0s define the data that a simple variable can hold. There are exceptions, like on the new 64-bit G5s and in the 128-bit world of AltiVec Posted by: Christopher on January 18, 2004 09:50 PM We can see an example of this in our code we've written so far. In each function's block, we declare variables that hold our data. When each function ends, the variables within are disposed of, and the space they were using is given back to the computer to use. The variables live in the blocks of conditionals and loops we write, but they don't cascade into functions we call, because those aren't sub-blocks, but different sections of code entirely. Every variable we've written has a well-defined lifetime of one function. Posted by: Conrad on January 18, 2004 09:51 PM

65. Nthposition Online Magazine: Author
    ron silliman. ron is the author and editor of 24 books, and is a 2002fellow of the Pennsylvania Council on the Arts. Salt will reissue  
    http://www.nthposition.com/author.php?authid=166

66. The Jim Behrle Show:
    R is for ron silliman. Then we ll put em in an instant anthology called R is forron silliman in honor of the inspirer, a very alphabeticallyinterested guy.  
    http://jimmy.onepotmeal.com/archives/004696.html

67. The Jim Behrle Show: From
    toukokuu 05, 2004. from R is for ron silliman A Is for Artillery by K. Silem Mohammad. A Is for Artillery K. Silem Mohammad. I have  
    http://jimmy.onepotmeal.com/archives/004712.html

68. Progressiveness Now
    Date Tue, 18 Sep 2001 232915 0400 Reply-To UB Poetics discussion group SenderUB Poetics discussion group From ron silliman Subject What is to be done  
    http://au.geocities.com/masthead_2/us/silliman.html
    
    Extractions: Progressiveness now Date: Tue, 18 Sep 2001 23:29:15 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: What is to be done Content-Type: text/plain; charset="iso-8859-1" I've been thinking for days about how best to write this - and I still have no clue, so I'm just going to wade in and hope for the best. I've been asked what I think about "all this" by some two dozen people, and what I think is this. It is time for progressives to act, but not on the past dragged on as habit. The horrific attack on four jetliners, the World Trade Center and the Pentagon last week places everybody under extraordinary kinds of pressure right now - I must have seen one hundred or so American males openly cry on television over the past week (and even Bush barely kept it together when a reporter in the Oval Office asked him about his feelings). The attack places progressives into a particularly difficult and painful spot. So far, my impression is that the left as a whole has not responded well and is mostly doing a bang-up job of isolating itself at the worst possible moment in history. Consider these points: (1) Everyone has had the opportunity to see over 5,000 people, most of them the most ordinary folks in the world, die very horrible deaths. This total is more than the attack on Pearl Harbor and the sinking of the Titanic combined - this is a visceral shock to the system that we will all be suffering effects from for years.

69. Biographies
    from Potes Poets Press. ron silliman is a poet living in the ValleyForge region of Pennsylvania. An antiwar activist during  
    http://au.geocities.com/masthead_2/us/biogsus.html
    
    Extractions: HOME ALI ALIZADEH was born in Iran in 1976 and migrated to Australia at 14. Having endured the Islamic Revolution, the Iran-Iraq War and years of out-right racist attacks in Queensland, he managed to graduate from Griffith University Gold Coast with Honours in Creative Arts in 1998. Since then he's been living in Melbourne, working on a PhD at Deakin University and developing his poetics for the post-modern epic. Ali's first English-language poem was published and performed in 1995. Since then he has been reading his poems in pubs, festivals, street-corners and classrooms across Australia, while working on two narrative texts Elixir and La Pucelle . He's had poems published in journals such as Veranda Divan Writing Australia and Voiceworks . He also writes book-reviews and plays. His play Irene's Inquisition is staged during the 2001 Melbourne Fringe Festival. BARRY ALPERT He edited VORT magazine. Duke University Press recently reprinted his "performed lecture" on John Cage, Buckminster Fuller, and David Antin. His book The Poet In The Imaginary Museum was published by both Carcanet Press and Persea Books, and it was reviewed prominently in the

70. Resurgere.org: Comment On Ron Silliman
    resurgere.org. Comments ron silliman. Post a comment. NameEmail Address URL Remember personal info? Yes No Comments  
    http://www.resurgere.org/cgi-bin/mt-comments.cgi?entry_id=55

71. Resurgere.org: Discussion On Ron Silliman
    TrackBack URL for this entry http//www.resurgere.org/cgibin/mt-tb.cgi/45 Listedbelow are links to weblogs that reference ron silliman from resurgere.org.  
    http://www.resurgere.org/cgi-bin/mt-tb.cgi?__mode=view&entry_id=55

72. Essay With Long Title
    Analyzing VIII from YOU by ron silliman in reference to Parataxis and NarrativeThe New Sentence in Theory and Practice by Bob Perelman from the book  
    http://www.ericrosenfield.com/longtitle.html
    
    Extractions: Essay with Long Title Eric Rosenfield Analyzing "VIII" from YOU by Ron Silliman in reference to "Parataxis and Narrative: The New Sentence in Theory and Practice" by Bob Perelman from the book Artifice and Indeterminacy: An Anthology of New Poetics edited by Christopher Beach. An essay with a long title. Ron Silliman coined the term "the new sentence". The new sentence, in his view, was an attack on traditional narrative – as the "narrative suppresses immediate attention". As Perelman points out at length, the concept of the "new sentence" parataxic: the arranging of sentences one after the other "without indicating their connection or independence" . In other words, the new sentence is a virtual non-sequitur: it is placed next to other sentences without overt indication of how it relates to them, so that it can be taken out and viewed as a language unit unto itself, and the relation to the other sentences must be implied by the reader. Traditional narrative (eg. novels, epic poems, etc) suppress "immediate attention" through hypotaxic statements (ie. Not parataxic) by giving the reader the relation of the sentence rather than forcing the reader to consider each sentence (attentively) on its own, as its own mini-narration. The Ron Silliman poem "VIII" (from the longer poem

73. December 20, 2003
    December 20, 2003. Essay on the New Sentence and ron silliman. The full sillimanpoem I m using can be found here Excerpt from YOU by ron silliman.  
    http://www.ericrosenfield.com/blog/archives/000150.html
    
    Extractions: [title] Archive [title] Main This is an essay on a poem by Ron Silliman, in reference to an essay from the essay collection Artifice and Indeterminacy: An Anthology of New Poetics edited by Christopher Beach. The assignment was to respond to essays in one of a selection of books, though this essay of mine might have been better if I was actually using the book the "New Sentence" by Ron Silliman, which the essay in the anthology is about (I'm sort of writing an essay about an essay about a book about a subject). However, the concept of the "New Sentence" was so intreguing to me that I wanted to write about it anyway. The full Silliman poem I'm using can be found here:

74. Silliman & Jarnot
    ron silliman has worked as an organizer in the prison and tenant movements, a lobbyist,and an editor of the Socialist Review; more recently he’s been a  
    http://www.gopog.org/fliersillimanjarnot.html
    
    Extractions: presents reading Saturday, May 18 , 7 pm workshop Sunday afternoon, May 19 MOCA (Museum of Contemporary Art) 191 E. Toole Ave. (NW corner of Toole 6 th Ave, downtown) Ron Silliman has worked as an organizer in the prison and tenant movements, a lobbyist, and an editor of the Socialist Review ; more recently he’s been a computer programmer and analyst. Silliman is one of the original group of San Francisco Language poets. Controversies over Language writing have been reflected in many influential journals of contemporary writing, opening out into questions concerning the possible place and function of poetry in ideological analysis and social debate. In writing what he has named the “new sentence,” Silliman frustrates the convention of the poetic line as well as the reader’s expectations of closure. His ongoing long poem, The Alphabet , which now includes ABC Paradise What Toner (1992), among other volumes, will eventually grow to twenty-six book-length installments. Some of Silliman’s many other books include Ketjak (This, 1978)

75. POETRY FROM ZYZZYVA
    the Flesh, 23 Shurin, Aaron, Subliminal Sweat, 39 Shurin, Aaron, from InvoluntaryLyrics, 52 Sikelianos, Eleni, At Night, 40 silliman, ron, Oz, 5 silliman, ron  
    http://www.zyzzyva.org/published.poetry.htm

76. Crisis: America/World
    Byrd, Don. These Times. Poetics Listserv (18 September 2001); A Replyto ron silliman. Poetics Listserv (25 September 2001). silliman, ron.  
    http://www.english.wayne.edu/fac_pages/ewatten/crisis.html
    
    Extractions: From 9/11 to the War on Iraq Selected Texts and Links Links: poetic responses to the War on Iraq Stefans, Brian Kim. " BKS: A Mini-Anthology of Poems Against the War " From Leslie Scalapino's recent anthology enough Watten, Barrett. " War = Language " Statement read at "A Day of Reflection on the War in Iraq" at Wayne State University, 26 March 2003 Texts: poetic responses to modern war World War II H. D. [Hilda Doolittle]. Trilogy . New York: New Directions, 1973. Hermetic lyricism at the boundaries of the will during bombing of London. Patchen, Kenneth. The Journal of Albion Moonlight . New York: United Book Guild, 1944; New Directions, 1971. Experimental diary of the poet's experience in wartime England. Sandburg, Carl. Home Front Memo . New York: Harcourt, Brace, 1943. Patriotic war journalism from the populist poet. Shapiro, Karl. V-Letter . New York: Reynal and Hitchcock, 1944. Addresses his combat experience in New Guinea. Vietnam War Duncan, Robert. Bending the Bow . New York: New Directions, 1968.

77. HighBeam Research: ELibrary Search: Results
    form of practical memory, Benjamin writes, and in this sense both the poet 1(spring 1992) 4673. silliman, ron. Canons and Institutions New Hope for  
    http://www.highbeam.com/library/search.asp?FN=AO&refid=ency_refd&search_thesauru

78. UPNE | In The American Tree
    National Poetry Foundation. In the American Tree silliman, ron, ed. 6 x 9 Poetry. $26.00 Paper, 0943373-51-4, silliman, ron In the American Tree,  
    http://www.upne.com/0-943373-51-4.html

79. Peaks Starting With 'S' - Climber.Org Trip Reports
    22 Jan 2000, Mt silliman Mt. silliman, Joe Budman California. 2 May 1999,Mt silliman As the Clouds Roll in over Mount silliman, ron Karpel California.  
    http://www.climber.org/TripReports/ByPeakS.html

80. Mt Silliman 1998 Trip
    On the way back. Top of Twins Peak, Mount silliman visible in the background.The ridge of Twins Peak from silliman Lake. Back to ron Karpel s Page.  
    http://www.karpel.org/Ron/Reports1998/Silliman081998.html
    
    Extractions: Starting from Rowel Meadow trailhead, we took 2 1/2 days of backpacking to get to the top of Silliman Pass. One could get here from Lodgepole in less then a day (9 mile, 4000 ft climb). But we took our time enjoying the Sierra. The Gang Just crossed into Kings Canyon NP First look at Mount Silliman Ethan and Matt brave the freezing water at Ranger Lake Ranger Lake Pumping water, Ranger Lake Ranger Lake From Silliman Pass we followed the ridge towards the summit of Mount Silliman. About a mile later Silliman lakes came into view. We dropped from the ridge, hiked by the lakes and up through the drainage to the saddle between Mount Silliman and the picklet to it's west. Mount Silliman is protected by a formidable cliff on its north and east sides. There is only one way to get to the top. It is a narrow couloir cutting through the cliff. The couloir is visible only once you have reached top of the saddle. In spite of the hot sun, there was lots of snow in the area, ruminant of last winter's Al Nino. The slope of the couloir was about 30 degree, and the snow was hard, but it didn't look too difficult. Still we didn't have ice axes or crampons, and we were not about to use them anyway. Without the ice gear there was no way to continue.

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