Wednesday, December 8, 2010

Performance: Seattle

An Opening Is Nothing
spatial poetry.
ver(a)rt gallery [Vera Project]
3rd and Warren. N of Key Arena [Seattle]
Tuesday, December 14th from 6 to 8 PM. Performance at 7.

performances by James Yeary, Nico Vassilakis, and a Gaburo Ensemble from Olympia (performing Lingua II: Maledetto; performers include David Wolach, Arun Chandra, and Elizabeth Williamson)

The show features works by

Bethany Ides (NY)

Urban Subjects: Jeff Derksen, Sabine Bitter, Helmut Weber (Vancouver)

Donato Mancini (Vancouver)

Nico Vassilakis (Seattle)

Tuesday, December 7, 2010

A marathon reading of Charles Olson's The Maximus Poems

Dear friends,

On January 14th, 15th and 16th of 2011, in commemoration of his 100th birthday, Spare Room in Portland, Oregon, will host a three-day marathon reading of Charles Olson's book-length epic, The Maximus Poems. We will read Volume 1 on the 14th, the second volume (IV, V, VI) on the 15th, and Volume 3 on the 16th.
Olson centennial events and conferences have also been held this year in Vancouver, British Columbia; Gloucester, Massachusetts; and Buffalo, New York. Olson was a teacher at Black Mountain College, the experimental arts school which also counted John Cage, Robert Creeley, and Robert Rauschenberg among its teachers and students.
The readings will take place at the following times and locations:

Readers include:

Jesse Morse, Jennifer Bartlett, Zachary Schomburg, Dan Raphael, Laura Feldman, Michael Weaver, James Yeary, David Abel,
Alicia Cohen, Sam Lohmann, Jaye Harris, Donald Dunbar, John Hall, Susan Rankin, Rodney Koeneke, Endi Bogue Hartigan,
Lisa Radon, Linda Austin, Tim DuRoche, Pat Hartigan, Mere Blankenship, Joseph Mains, Jamalieh Haley, Drew Swenhaugen, David Weinberg, Christopher Luna, Paul Maziar, Jacqueline Motzer, David Weinberg

January 14th: 4-9pm
Switchyard Studios
109 SE Salmon St

January 15th: 2-7pm
2505 Southeast 11th Avenue

January 16th: 2-7pm
800 SE 10th Avenue, Portland, OR 97214
(entrance on SE 10th Avenue at SE Morrison Street)

James Yeary,
for Spare Room

Tuesday, November 2, 2010

Wednesday, October 13, 2010

Wednesday, September 22, 2010


1241 NW Johnson St.
October 13th
7:00 PM

I believe this will take place in PNCA's Red Room & will be connected to Nina Katchadourian's Sorted Books exhibit.


Pilot Books
Upstairs in the Alley Building
219 Broadway E
October 19th
7:00 PM

Tuesday, August 24, 2010

Nightshades of the Wordsalad

Here are links to Paul Baker's recording of my Madison reading:

James 1 of 2

James 2 of 2

with Crag Hill
part 2


part 2

These readings are equally comfortable at Paul Baker's!

Saturday, August 14, 2010


ANYTHING BUT MORE- OR LESS-SHAPED READING, this Monday, August 16th, 7 p.m., at Avol’s Books, 315 W. Gorham.

Myopic Books (Chicago), Tuesday August 17, 7 p.m.

Friday, July 16, 2010

Sunday, July 11, 2010

Portland Polyvocal Poetry July 18th!

Portland Polyvocal Poetry

Sunday, July 18th
2:00-4:00 pm

Ladd Circle
(SE 16th & Harrison, between Hawthorne & Division)


Performers, poets, and friends will gather to test the capability of the poem as conversation.

Many of the poems performed on Sunday will be from years past, and by poets no longer with us; others contemporary and presented by their authors. All will be performed by multiple voices, some by speaking or singing chorus, and several will include the opportunity for audience creativity and participation.

Please bring your own refreshments and accommodations for seating (towels or folding chairs).

Compositions by

David Abel
Kathy Acker
Endi Bogue Hartigan
Crg Hill
Bethany Ides
Jackson Mac Low
Jesse Morse
Jacqueline Motzer
Charles Olson
mARK oWEns
Chris Piuma
Leslie Scalapino
Nico Vassilakis
Karl Young

arranged and performed by

David Abel
Alicia Cohen
Tina Frost
Endi Bogue Hartigan
Crg Hill
Lindsay Hill
Bethany Ides
Maryrose Larkin
Devin Lucid
Jesse Morse
Jacqueline Motzer
Morgan A. Ritter
Standard Schaefer
Michael Weaver
David Weinberg
James Yeary

(eye in the sky courtesy of Maryrose Larkin, though she says she didn't take the picture)

Friday, June 18, 2010

road hogs

I am part of a party moving by truck from one end of Farmer Rd. to the other. Farmer Rd. is actually Simplot Boulevard, Simplot being the industrial-agriculture giant my hometown existed around, Simplot Boulevard was also the road I took to school my last two years of high school. We pause and I see men holding down hogs, by hand, in an almost sexual embrace, and slitting their throats, holding them from behind until they're done. They make a few more slashes in them, connect a bit of machine to their rear. I see this happen repeatedly, with no variation to the gesture. On the way back I see it again, and am stunned by the similarity of one death after the other.

Wednesday, June 16, 2010


I can designate a space
& whatever happens within it
is art

but this isn't
this waiting for something to happen

for a music
so thin
you can't believe in it

Friday, May 7, 2010

looking down as if it were just my feet

dreamt I was -had been visiting Seneca & Megan, friends from Idaho (&this perhaps where I was visiting), but had by chance met & was conversing with the household of young people that lived "around the corner". They showed me their actualized recipe for marijuana pancakes, something I had in fact dreamed up in Idaho (well, sinsemilia abbelskivers), & when one of those women inquired of a place to practice & record music, I told her of the modish, which is a place here actual transplant friends of mine do same. I literally spelled it out for her, & upon waking realized I was trading the secrets of the waking world for that of my subconscious.

Thursday, April 29, 2010


Live at the Hollywood Theater. Tonight. Four hours ago.

two guitars, three long sets. While this was billed as Jandek featuring Thurston Moore, perhaps due to dint of their playing styles & personalities (& is the blur), TM came out as much more the show stealer. But it was nonetheless an incredible incredible evening. & Jandek's Branca-ish walking blues was a perfect center for TM's surface, which was, of course, all over the place. I squirmed with joy. & I hardly watched, as is my tendency when I'm really enjoying a musical performance.
Jandek spent most of the evening facing the theatre screen, away from the audience, while TM spent most of it facing us, but behind his bangs, & both of them paced from time to time. While TM never really riffed, but moved from high end noise to occassionally percussive sludge into controlled feedback - this may sound typical, I think it was on the contary just difficult for me to put in words. He was much louder, & used distortion & (I think) occasional, if for more than a few moments during the first "jam", effects, whereas, Jandek's tone was thin & clean. It sounded as if he was perhaps in a Lou Reed "ostrich tuning" (all strings tuned to the same note". He played very repetitively, in the afforementioned "walking blues," which is my poor job of describing his circular sounding movement of dissonant chords, & then into a dissonant strumming, & then back. Occasionally Jandek played what seemed to me to be very reminiscent of Sonic Youth, but the show never seemed derivative to me, & it was only after the second long & loud set that I gave in & put in the earplugs. The third set Thurston possibly played near the entirety of with a drum stick, tho this was not the first alternative, extracurricular element he brought in. I was actually surprised to hear them begin a third set, albeit delighted, when the mood changed, & they both sat for the first time. It may have been because I put in the plugs (I think this is likely), but for the third set the sound seemed more balanced.
After the show Chris & I went to Proper Eats for a vegan nacho. On the way out the door I noticed a book by Robert Duncan, & opened it to this poem:


By stress and syllable
by change-rhyme and contour
we let the long line pace even awkward to its period.

The short line
we refine
and keep for candor.

This we remember:
ember of the fire
catches the word if we but hear
("We must understand what is happening")
and springs to desire,
a bird-right light

This is the Yule-log that warms December.
This is new grass that springs from the ground.

Wednesday, April 14, 2010



Book Launch at Printed Matter, 195 10th Avenue, New York, NY
Saturday, April 24th, 5 - 7 pm


Sreshta Rit Premnath
Warren Neidich


Éric Alliez
Bernard Andrieu
Eric Anglès
Kader Attia
Elena Bajo
Lindsay Benedict
Nicholas Chase
Seth Cluett
Zoe Crosher
Krysten Cunningham
Yevgeniy Fiks
Dan Levenson
Antje Majewski
T. Kelly Mason
Michele Masucci
Daniel Miller
Seth Nehil
Warren Neidich
Susanne Neubauer
Hans Ulrich Obrist
Chloe Piene
Sreshta Rit Premnath
Linda Quinlan
Patricia Reed
Silva Reichwein
Barry Schwabsky
Gemma Sharpe
Amy Sillman
Francesco Spampinato
Tyler Stallings
Laura Stein
Clarissa Tossin
Brindalyn Webster
Lee Welch
Olav Westphalen
James Yeary

We present scores, scripts, instructions, critical essays and more for Shifter’s 16th issue entitled “Pluripotential”.

Here we invoke a term, which describes the innate ability of stem-cells to differentiate into almost any cell in the body, to think through the possibility of criticality and cultural change through aesthetic strategies.

The skin that we are born with is transformed as a result of its life of touches, caresses and trauma and becomes flesh*. While on the one hand each of us experiences a unique set of circumstances, our common knowledge also shapes this flesh. Analogously, the brain becomes the mind through its history of experiences: A British child growing up in Tokyo speaks fluent Japanese, something her parents having arrived later in life to Japan may never be able to do. The brain is prepared for a multiplicity of cultural and linguistic conditions, within certain biological limits of malleability. Furthermore, as Agamben has noted, "the child [...], is potential in the sense that [s]he must suffer an alteration (a becoming other) through learning."**

These limits of malleability may fall within the paradigm of what Ranciere calls the distribution of the sensible: “the system of self-evident facts of sense perception, that simultaneously discloses the existence of something in common, and the delimitations that define the respective parts and positions within it.”*** Does art have the pluripotential ability to produce events in the cultural landscape, which in turn produce a redistribution of the sensible: a shift in public consciousness concerning how and what we see and feel, and furthermore a reconsideration of who constitutes the public “we.” Here the contradicting ideas of a homogeneous people, versus the singularities that produce differences within the multitude become relevant.

This play between structural constraints and a potential for continuous change is seen in forms such as scores, scripts and instructions; and strategies including "detournement" and remix, which hold within them the potential to be performed and reconstituted in multiple ways. It is therefore through these forms that we set out to explore "Pluripotential".


*"The Merleau-Ponty Reader", Maurice Merleau-Ponty, Ted Toadvine, Leonard Lawlor, Northwestern University Press, 2007; Pg. 405
**"Potentialities", Giorgio Agameben, Standford University Press, 1999; Pg. 179
***"The Politics of Aesthetics: The Distribution of the Sensible", Jacques Rancière, Gabriel Rockhill, Continuum, 2006; Pg. 12

Shifter ( is a topical magazine that was founded in 2004 by Sreshta Premnath. Premnath continues to edit the magazine in collaboration with guest editors. Copies of the magazine are held in the MoMA artist book collection as well as Printed Matter.

Finding the internet to be the only inter-continental “commons” not policed by immigration policy, Shifter began as an online magazine. It was conceived as a topical magazine in which ideas could be approached from different directions and disciplines. It attempts to create a platform where individuals engaged in various fields including visual art, experimental writing, cultural theory, philosophy and the sciences can view their work in relation to each other without hierarchy. The online magazine has always been free, once again to circumvent the inequities of the global capitalist marketplace.

For Roman Jakobson, a “shifter” is a term whose meaning cannot be determined without referring to the message that is being communicated between a sender and a receiver. For example the pronouns “I” and “you”, as well as words like “here” and “now”, and the tenses, can only be understood by reference to the context in which they are uttered.

As this suggests, Shifter’s topics have often focussed on issues of subjectivity and rupture in language, and contributions reveal an equal emphasis on visual and textual strategies. This is a project open to change and failure and does not depend on revenue. Each issue creates a community of artists and writers who may not have seen their work contextualized together, and in this way hopes to open a dialogue amongst them.

Monday, April 12, 2010


Three poets and one visual artist read and perform from their books that document their walks thru the cities they live in.

Jon Cotner & Andy Fitch will read from their book Ten Walks/Two Talks (with a special guest)

James Yeary & Nate Orton will read and perform from their books My Day Walking Across Portland and it’s Hinterlands, vol. 1-3

Concordia Coffee House
Wed. April 21st 7:30 pm
$5 suggested donation
2909 NE Alberta
For more info:

Spare Room Readings

Wednesday, March 17, 2010


Performance Works NorthWest presents...
Alembic #9: Organizam: A Mutant Cabaret of Non Acts
April 2-3, 2010 @8 pm

A weekend of humor based, conceptual, non-dramatic events informed from experimental traditions such as Dada, Situationists, and Fluxus. 2 nights blending words, laughs, music, dancing, props, concepts, video, (non-) acting, games, sounds, implosions, with live humans.

(Careful! Both evenings are officially withdrawn by the Ministry in Defense of the Demagnetic Counter-board.)

John Berendzen
Tony Christy
Maria Jose Gonzalez
James Yeary
Maryrose Larkin
Eric Matchett & Jake Anderson
Anna Daedalus
Leo Daedalus
David Abel
J.A. Lee
Crag Hill
Linda Austin

Curated by Marko Whens

WHEN: April 2 & 3, Friday & Saturday, at 8pm

WHERE: Performance Works NorthWest
4625 NE 67th Ave, Portland, OR

HOW: Tickets: $10 - $15 sliding scale
Reserve at 503-777-1907 or

ALEMBIC is an ongoing series of performative events at Performance Works North West curated by guest artists from the worlds of dance, theater, visual and media arts. This program is supported in part by a grant from the Multnomah County Cultural Coalition/Oregon Cultural Trust.

Sunday, March 7, 2010

M ENTAL TEKST by Jim McCrary

Hmmm. Poetry of Critique. & closes the integral: speech=music. But in a Dee Dee Ramone kind of fashion. Great Surrealist opener:

When the madwomen come dancing out of the tree above

last nights dinner wine jumps back and covers the floor

with unbearable rants of bottom man fish oracles that you

My dinner will die laughing from ingesting these brightest

Which is I think Jim giving the jab. I like the jab. He continues:

statements coming across universal and universes which are

beyond even your wide minded brothers and sisters in our
loving state of compress.

If you think this matters. That matters.
The last line the morphing chorus

Matter matter matter matter. Not
Jim hints at an interest in vispo, as I mentioned in an ancient post, as

the participants and commanders who seem to spend

countless hours scouring all letters in both known and
unknown alphabets just trying to find something to say.

Like any of this matter. Matters.

A question of the music from the back of the head. Jimmy (that's me,) likey.

Tuesday, February 23, 2010


Nate (lines) & I (types) have finished My Day in Vancouver, which is available from me at $1 a copy, or at Powell's & Reading Frenzy in Porkland. It includes an 'original' rubbing & has been cut to size. Unlike Vancouver, it is the most unique my day yet...

peripatetic double review

Sunday Feb. 7th. Powell's on Hawthorne, Portland, Ore. Release/reading for REMEMBER TO WAVE, by Kaia Sand, which, as a book more than represents the walk that appears to be the center, which began temporally, ideologically as/in a film then thought thru was walked several times & now contains some impression of that time, before a phoenix at rest(?) in some other idea, here or in someone else.

Sunday Feb. 7th. Alison Cobb reads for the Spare Room. I meant to introduce her, thoughtfully & informally, & even if I failed at that (better than last) I was lucky enough to have her folly that (introduction), & follow wit that poem of hers, GREEN-WOOD. Also peripatetic palimpsest, though in its relation to me (alone?), of a place with a more familiar history & more personal, physical, experiential distance.

KS finds a root in the shopping mall, physically & really, the columns in the Expo Center, where the newspaper THE EVACUAZETTE was writ & printed.

& GREEN-WOOD, a cemetary many bodies have laft to speak of, & contain text at play & interchange with its own context(s). A cemetery of facts whose headstones are (its) etymology. & could also have a HAPPY BIRTHDAY IN HEAVEN balloon, which attempts to leave (whether it is tethered or not) & becomes entangled in the scape. As she points out 'paradise' comes from Iran, where it is "around [...] to make or form (a wall)."

The poetry in WAVE & WOOD both come in bursts. As "postconceptualists" stacking fact on fact, the transcriptions blur over each other, as in Reznikoff, but also, in GREEN-WOOD, one observation will tear thru another, as in

"looking back for anything
not burning

In Feb. 2009 Obama eased the twenty-year ban on images of soldier's bodies returning home from war ( hard light, clear edges ). Now each family gets to decide whether..."

Sand's writing also traces & accompanies historical document. Set in typewriter's Courier interwoven w/ & often overlapping with photographic collage, the text, the "Courier", echoes in transcription, & then fades, as in the type printed over "INSTRUCTIONS TO ALL PERSONS OF JAPANESE ANCESTRY".

word a lamp awaiting fire