I am pleased to announce:
Craig Saper will join the faculty of the Language, Literacy, & Culture doctoral program at UMBC as Associate Professor (and invited to stand for promotion to full immediately upon appointment). I will also have an increasing administrative role in the stand-alone interdisciplinary doctoral program (with only four core faculty and many affiliated faculty).
Lynn Tomlinson will join the faculty at MICA (a top-tier art college in the same league as Yale, RISD, and SAIC) in Animation. Her position is a “special contract” at a very senior level (but with the expectation that she will be considered in their national search for two animation positions there as well as two others in Baltimore).
In Catonsville/Baltimore, we are renting a house from a well-known typographer and commercial book designer, Guenet Abraham, and her husband, a writer who works with BET network. We found them through a mutual FB artist-friend. We are renting our Florida house to a historian who specializes in using digital systems (he is moving from UVa) and his wife, who is the Director of the Modern section of the National Trust for Historic Preservation (specializing in preserving buildings from the recent past) – our house was built in 1972, and I’ve told her it is an excellent example of what I call Macramé Modernism. So, artists and professors are the only one’s keeping this economy afloat!
The Bernard Saper Papers (1920-2006) were placed at The History of American Psychology Museum & Archive in Ohio (who were enthusiastic about the acquisition), and I learned that many of his other (and frankly more historically significant letters and documents) are part of the New York State Archives. I’ve published an essay about his IQ test, and hope to publish on his slides he used in researching subliminal seduction in the late 1940’s.
Sam Saper appeared this summer as “The Little Boy” Edgar in a professional Equity production of Ragtime that played to sold out audiences and rave reviews including one that mentioned his supporting performance as combining “innocence with a comic wink.” We’ve decided to make that phrase our family slogan. It was a grueling schedule, but fascinating to work with B’way and professional directors, actors, etc. He will attend Catonsville HS as a 9th grader. Lucy Saper will attend The Jemicy School of Baltimore as a 5th grade member of group i.
This summer in Ithaca NY (where Lynn teaches animation in the summer session), and with me supposedly between jobs (and computers), I had a bit of time between the many tasks, mountains of paper-work , and interminable repairs required from both the previous job, the next job, and the three locations, I finished my latest book in June (written over 9 summers and one ½ year fall sabbatical – less than two years of interrupted months of work) on The Remarkable Adventures of Bob Brown and His Amazing Reading Machine. It seeks to recover biography as a (post)modernist biography or mechaniography… and if it finds a publisher, it will be the first and only biography or the Zelig of the Avant-Garde and his machine.
I also wrote or substantially revised a few (coincidentally) closely related essays this summer and the following should appear in the fall or next winter.
“Readies Online: Simulating a Modernisting Experiment “ Digital Humanities Quarterly, v.5, n.3 (Summer 2011).
“A hamis identitás szociopoetikája,” in Látjátok (ellen)feleim, Anna Bálint (ed.): (István Király Múzeum, Székesfehérvár) (forthcoming in October 2011). (the title was “Sociopoetics of Forged Identities: Getting Intimate With Monty Cantsin, Allen Smithee, and Karen Eliott,” but I just noticed that the translation seems much more condensed? —- hmmm, since it will appear only in Hungarian I think, I’ll have to trust the translator).
“Hors d’Oeuvres: The Novel Drama of Critical Editions, Collected Works, and Editorial Annotations,” in Multifesto: A Henri d’Mescan Remix. Eds. Schneiderman, Davis, and Phoenlia Yeer. Intro. Craig Saper. 2nd. ed. New York: Spuyten Duyvil, 2012.
“Scratch & ReMix Machine: Paik in Amerika,” in Mark Amerika’s Open Remix Online Exhibit and Catalogue in conjunction with Amerika’s remixthebook.com (University of Minnesota Press, 2011)
Also, a review of Caternia Davinio’s networked poetry experiment at the 2009 Venice Biennial (that I participated in) appeared … and as reviews editor at Rhizomes, I know that you’ll find the reviews in the current issue interesting.
I guess I’ve been thinking (and writing) about new roles, names, naming, and networked-identities.
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