ABSTRACT
In this playful essay, falling somewhere between prose poem, performance text and critical testimony, Chris Goode attempts to capture the experience of undertaking a live vocal performance of a particular work of visual poetry, Michael Basinski’s ‘The Germ of Creativity’. Goode’s intention is to propose a highly partial and contingent embodied critical practice that expands to accommodate the same forces of liveness and multiplicity as the concertedly slippery work it is exploring.
