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Jackson Mac Low: The Limits of Formalism

Poetics Today, 1982
The use of chance operation in the poetry of Jackson Mac Low brings into question formalist critical techniques. In Stanzas for Iris Lezak (1971), each poem was made through the use of a set of chance operations. Mac Low would select a book, one that he had been reading on the subway perhaps, and using the title as an organizing device, he would turn ...
E. Zweig
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Freely Revised and Edited: Anarchist Authorship in Jackson Mac Low’s The Stein Poems

English Studies in Canada, 2015
It might seem strange that in order to write about anarchism and authorship in the poetry of Jackson Mac Low, I write not about his early poems in which he pushes the limits of chance, spontaneity, improvisation, deterministic methods, and computer systems designed to produce diastic poems (1) but, rather, about his often critically neglected poetic ...
D. Spinosa
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New Meaning and Poetic Vocabulary: From Coleridge to Jackson Mac Low

Poetics Today, 1997
This essay charts the development in American modernist and postmodern poetics of the use of preestablished, nonauthorial "poetic vocabularies" for literary composition. While the Coleridgean concept of "poetic diction" is normative and hierarchical in its separation of appropriate and inappropriate lexicons for literature, "poetic vocabulary" is both ...
Barrett Watten
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The Political Unconscious of Jackson Mac Low

ANQ-a Quarterly Journal of Short Articles Notes and Reviews
Shawn Normandin
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Jackson Mac Low Redefines the Limits of Notation: Writing, Performing… and Scoring out?

open access: yesRevue française d’études américaines, 2018
Jackson Mac Low (1922-2004) s’est attelé à composer des poèmes-partitions interprétables par autrui qui ne prescrivent pas pour autant tous les détails de la performance, en mêlant des signes de notation musicale classique et expérimentale à des dispositifs ad hoc qui résistent durablement à faire système.
Célia Galey-Gambier
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Remembering Jackson Mac Low

PAJ: A Journal of Performance and Art, 2005
Isaw him first as Marcus Aurelius in Paul Goodman’s play, Faustina. Prester John’s company was an anarchist group performing great theatre in a freezingcold artist’s loft on 8th Street, long before it became the fashion to perform in artists’ lofts. That was in June of 1949 and the loft was Robert Motherwell’s, shared with Barney Newman’s art school ...
J. Malina
openaire   +2 more sources

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