|
Snailmail visual poetry (everything as to size, quantity,
framed/unframed, price, no price, sale, no sale, give away, trade, up to the
artists! ) to: 19 S Franklin St. Madison |
with poetry by David Chikhladze, Gautam Verma, David Rushmer, Anne
Fitzgerald, Mary Ann Sullivan, Ruth Lepson, Virginia Konchan, Sandra
Huber, Paige H. Taggart, Marcia Arrieta, Sean Patrick Hill, Travis
Macdonald, Mark Lamoureux, Camille Martin, Nathan Thompson, Philip
Byron Oakes, Cyril Wong, and Derek Henderson
E·ratio · Issue 12.pdf
http://www.eratiopostmodernpoetry.com/
edited by gregory vincent st. thomasino
here is a collection of scholarly papers from europe on digital literature:
http://www.rilune.org/ENGLISH/mono5/digital01.htm
they're published as issue 5, 2006, in the 'Review of Literatures of the
European Union'. the list of other issues is at
http://www.rilune.org/ENGLISH/mono.htm
270 pages, Blue Lion Books, 2009
reviewers or the financially demur or the merely curious can find a free download.
or purchase the very handsome book.
http://www.lulu.com/content/paperback-book/protracted-type/6845937
blurbs?
In Protracted Type, Nico Vassilakis provides us with a stunning and extensive survey of the impressive variety of his visual and conceptual work with language over the past several years. The book is punctuated with thoughtful statements about the nature of creating that work, of “finding your aleatoric self among the pencils”; i.e., coming to grips with the paradox of working subconsciously with language which is generally experienced as a conscious medium. In one of his statements he describes his creative process as a kind of disassociation: “I let my brain do the thinking. I watch it think for me…it makes the associations…maybe my brain thinks I’m staring and is piecing the puzzle together for me.” This is an excellent description of the creative process at its best.
Vassilakis has explored the possibilities of visual poetry from the outer limits of the purely letteral to the purely graphic, and the results are consistently stimulating and resonant: from enlarged and manipulated photos of typewriter keys and printed letters, to collaged cut-ups, to glyphic drawings, to concrete poetry, to photocopier artifacts, Vassilakis has given us a tour-de-force of styles and approaches. This is an essential work, and would be a bargain at three times the price.
John M. Bennett
the formula states, “a picture equals a thousand words.” what, then, is the formula when the image is itself language? and, that the language ranges from its initial formation slowly congealing afloat in the willful stage of conscious intent to its full and robust compositional form as a typographic-scape on a page?
to approach this collection, think first of a landscape artist’s precise use of topographic perspective at the marco level and the same artist as a still life painter at the micro level rendering the sensual curve of an apple in a tree within the macro-scape. then, transfer your trained eye and esthetic process onto and into vassilakis’ typographic-scapes and typographic-stills to wander with delight and wonder within one of the most comprehensive, serious and playful overviews and inner views of type and font with accents by hand to date.
karl kempton
A tour de force through visual poetry, Protracted Type is a place where, according to the author, "letters are vulnerable and cant always stand on their own." Within, our thoughts become interlaced with Vassilakis's perception of visual poetry from minimal to maximal with letters ranging from typewriter and digital through handwritten, shorthand, and altered text, text sometimes so overlayed as to become asemic. This is a thoroughly enjoyable and beautiful book.
Kathy Ernst
It’s drizzling on Admiral Way. Cigarette smoke trailing through his black hair, the Captain stands stock-still at the window, his sea legs steady, framed by the world he’s framing. He sees this series of black and white visual poems–and these poems are seen, composed, more than they are written–particulates, letters, phrases, fields of words before and after they construct their meaning, some sharp, some fuzzy, some slipping over the edge. At the center point of the glass, where inside and outside are indivisible, these poems fuse, the Captain’s eyes seizing–seized by–the world he perceives. At the very instant of our dissembling, he nods, our language comes together.
Crag Hill
House was significance. Thought straight toward the woods. They fly toward and under while the near woods which.
groww
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X E R O L A G E 4 3
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Xerolage 43—Grapyrus by Matina L. Stamatakis
Matina
Stamatakis has "arrived" even if the rest of the world has been
too slow to
realize it. Her newest "art/non" textscape is a veritable
plum pudding of
ruthless extravagance, a cryptological scherzo written
in "sanscript", so to
speak. Teasing out texture from text, this most
recent offering from the
Xerolage series has a haunting aspect that
unites papyri and the phantom
after-effects of words in constant
stochastic exile. In essence, Stamatakis
"writes" perpetually double,
the reflection upon a surface of "lin/geist"
that judders with an
ekphrastic motion of the cinematic or photographic
double-take.
—Kane X. Faucher
Tombstones and footprints,
prehistoric imperial Chinese silk
distressed and preserved in airtight tombs,
Sapphic papyrus scrolls
used as winding sheets for the human dead: languaged
shapes (letters,
glyphs, cuneiform, runes) layer each other on
multidimensional,
neonic, poly-textural surfaces that glow through the eras,
aeons and
ages. Evocative of sound, syntax and melismatic intuition,
these
works are endlessly resonant through time, space, and mind,
expanding
them all.
—Maria Damon
In Matina Stamatakis'
Grapyrus, an utterly fresh light unveils
antiquities. Under the cold glare of
the photocopier's bulb new
thoughts are seared onto the richly textured
venerability of the page.
Here is a vibrantly dark art that does not merely
mimic or ape
antediluvian roots, but consciously honors and revises
them,
relentlessly refreshing deep-seeded threads of thought.
Flourishing
gestures of contemporary graffiti no longer deface or elide,
but
honor; the visually brutalizing process of Xeroxing
accentuates,
antiques. Xerolage 43-Matina Stamatakis: Here papyrus and spray
paint
conspire to create a Rosetta stone for the hermetic
communiqués
scribbled on bathroom walls. The "reader" wanders through
a
nonexistent city, inexplicably entranced by the tattered posters
pasted
to crumbling edifices, and couldn't be happier to be so
utterly
lost.
—John Moore Williams
more at:
http://xexoxial.org/is/xerolage43/by/matina-l-stamatakis
The
primary investigation of Xerolage is how collage technique of 20th
century
art, typography, computer graphics, visual & concrete poetry
movements
& the art of the copier have been combined. Each issue is
devoted to the
work of one artist.
24 pages, 8.5 x 11, $6 includes
postage
Subscriptions: 4 issues/$20
XEXOXIAL EDITIONS
10375 Cty
Hway Alphabet
La Farge WI 54639
"Joel Chace’s reading at Robins Books May 19 makes me want to look at
his
linebreaks again," wrote Ron Silliman in a footnote to a recent post to
his
blog. This new chapbook provides the perfect opportunity.
A
SCRIPT
Joel Chace
24 pages
Cover photo by Michael Aanji
Crowley
Otoliths 2009
ISBN: 978-0-9806025-3-1
$8.25 + p&h
Direct
URL: http://www.lulu.com/content/paperback-book/a-script/7226173
Joel
Chace's A Script cons our part: part Asbergian stutter, part
zen
enlightenment, words and white spaces carefully/randomly placed pace
us
through a spectrum of verbal light, asking if there is a difference
between
self and other, background and text. These experiments of space and
the
phrase and word range over nature, food, and communication, invoking
Inca
and Silliman both, "speaking that other language again ... yield itself
each
sentence." —Larissa Shmailo
I like what Joel Chace does with the
topology of the line, the way he shows
how far it can be stretched while
still maintaining its integrity. And I
like how in doing so he takes the
plainest words—especially everyday nouns
like work, linen, world, office,
desk, ceiling—and makes them oddly visible
in the poem's raking
light:
"words / tiny far
but clear"
indeed. —Barry Schwabsky
The full Otoliths catalogue can be found at
http://stores.lulu.com/l_m_young
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X E R O L A G E 4 2
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A Catalogue of Rare Movements by Monica McFawn & Curtis A. Rhodes
from the introduction:
Making art is hard. The empty page
or canvas seems limitless and
glorious, one of the few places where anything
can happen. But the
moment a word is written or a mark made, what can happen
is
suddenly—violently—limited. A line is a barrier, and words silence
all
other words that could have been said. To commit to a course of
action
in art is, paradoxically, to commit to not-doing the infinite
anything
else. Making art is the bold relinquishing of possibility.
In
the larger world of art, every art movement is a theory of how to
get
free—how to get free of the influence of earlier artists, how to
get free of
public expectation, and how to get free of the limitations
of what one has
already done. In the insular world of this Catalogue,
each of our art
movements likewise describes how a drawing tried to
transcend itself. The
following work is an example of what can happen
within, or as a result of,
narrow constraints. Each drawing was
created using a strict set of rules:
they were collaboratively drawn
with the same pens, using a postcard-sized
rectangle as a starting
point. The box is the first limitation, the other
person’s
contribution another.
Within this insular process, the
subtitles, deviations, and variations
took on particular import. A Catalogue
of Rare Movements depicts
twenty-four art movements that flourished and
flared out in this tight
space of possibility. Xerolage 42- Monica McFawn
& Curtis A.
RhodesEach drawing itself became a theory of art, rising up
and
burning out within the course of its creation. But by the time
each
art movement was identified, it was already obsolete, and only
another
drawing could get us free of it.
more at:
http://xexoxial.org/is/xerolage42/by/monica_mcfawn_and_curtis-a-rhodes
The
primary investigation of Xerolage is how collage technique of 20th
century
art, typography, computer graphics, visual & concrete poetry
movements
& the art of the copier have been combined. Each issue is
devoted to the
work of one artist (or set of collaborators).
24 pages, 8.5 x 11, $6
includes postage
Subscriptions: 4 issues/$20
XEXOXIAL
EDITIONS
10375 Cty Hway Alphabet
La Farge WI
54639
