#bergvall

[footicons]

lucas bergvall icons

[atelierleclerc]

his body thoughhhh 🔥🔥

[atelierleclerc]

[newstech24]

Liverpool's Bergvall Gambit: Raiding Spurs for Midfield Gem?

Feb 19, 2026, 04:00 AM ET Liverpool has its sights on Tottenham Hotspur’s central player, Lucas Bergvall, who joins Juventus’ Khéphren Thuram and Palmeiras’ Allan Elias on their list of targets. Concurrently, Manchester United appears set to permit €85 million wide player Jadon Sancho to depart without a transfer fee this summer. Stay updated with the most recent transfer reports and speculation…

Liverpool's Bergvall Gambit: Raiding Spurs for Midfield Gem?

[karaspins]

:(

[poetryofoffpage18]

Writing Assignment, Week 6

poem transcript and visual piece here

audio recording here

--

Working Notes

For this piece, I did not think I would be comfortable with a group performance piece, so I decided to try a solo recording of a poem along with a visual piece. I also wanted to utilize this assignment as an opportunity to experience the poem “animated in air,” which for me immediately called to mind breath. Therefore, as I was composing and performing this poem, I tried to focus on my breathing and its presence in the words. I was interested in exploring this through the medium “airy” relationships and really seeing how I could use my breath. This was rather difficult for me, since I had never done anything like this before, but I am somewhat pleased with the outcome.

-Mary

[poetryofoffpage18]

Reading Response, Week 6

Performance poetry, according to my understanding, speaks to the complex relationship between a poetic text or written poetry and its vocal or sonic element. In listening to Caroline Bergville’s readings / performances, for example, I think of how her enacting or vocalizing of these works endows them with a particular status (for lack of a better word) that was not realizable through my own reading. Her unique voice, pronunciation, speed in reading, and so on contribute to a individual performance that proposes – or perhaps insists upon – its own interpretation of the piece at hand. In a way, even the simple act of reading a poem out loud is, to me, a sort of performance poetry, because it brings into focus such various aspects of the work as are listed above and because of the different relationship that may come about between the reader and the poem as a result.

Performance poetry, though, is not only about sounds but also about visuals, tactile sensations, movement, and the specificity of a particular moment in time. That is to say, one of the key ways performance poetry is different from poetry written or recorded in a book is that performance poetry has a location in time unique to itself. While words on a page will not change, every experience of a poem performed will be more or less unique. Because of this, I find the representation of performance poetry in the form of books or written texts to be quite a challenge. Indeed, I attempted something of this sort in the work I had work-shopped last week (“Za grómai”), and found that I was not able to represent on the page what I had intended to communicate to my readers / audience.

-Mary

[babelpoetics]

Continuum and stuttering in Torres and Bergvall

Listening to Torres and Bergvall, and returning to their poetry, I am struck by the continuum they establish. Of course, juxtaposing English and Spanish or English and Swedish (?) is already creating a link between languages. But it is in their performance that they create the continuum. Bergvall “Croppers” is compelling in this sense, for she starts every sentence by “some” which has the same sonority in English and Swedish. It creates an overlapping of the two languages, unexpecting when only hearing it. Swedish appears as an extension of English (for someone who does not speak Swedish), or the other way around. While the two languages are distinguished on the paper by the two colors, the spoken version insist on the fluidity between the two, the similarities of sound. It thus does not feel so much as an assemblage as a thread. In a similar way, listening to Torres and his poem “Son mi son”, he breaks all the barriers between spoken and sung words, between Brazilian and more Jamaican rhythms. Looking back to the Popedology of an Ambiant language, the poem “The Future Mrs. Torres” breaks the frontier between the two pages, bridges them in allowing the reader to follow whichever line he/she wants. We can also analyze the paper Torres uses, which is, I think, an epitome of his project of breaking lines. He chose a white printing machine paper on which he printed some dots, imitating a more untreated, more natural paper. He juxtaposes those two papers and breaks the frontier between the natural and the refined. And interestingly enough, this continuum is created by the act of stuttering, of decomposing the word “Corazon” as he explains it afterwards. They thus exemplify how the act of “stuttering” that Bergvall (quoting Guattari and Deleuze) evokes in her essay – can link languages and cultures. Stuttering to assert the fluidity of one’s identity.