Crg Hill's poetry scorecard

Thoughtscape

Coming late to damian lopes' eyethought-popping 'sensory deprivation & dream poetics'

Picked up this book last month at a visual poetry exhibit (Donato Mancini, Christian Bok, Mariana Roy) in Vancouver. Composed over ten years ago, published on-line and in print by Coach House Books about ten years ago, the work continues to crackle (in part because of the superb print work, sharp, solid blacks on good paper).

Here's the Coach House blurb: "At long last, this double-barrelled collection of visual poetry, sensory deprivation and dream poetics, by damian lopes is now in print. Considered visual essays by the author, sensory deprivation explores the visual noise and overload of contemporary culture, while dream poetics offers an argument for a poetics in this culture."

You can peruse it on-line at http://www.damianlopes.com/sensorydeprivation/

Check out Regina Pinto's digital poetry/sound project, Project AlphaAlpha - "A" Poetry:

I hear Stravinsky stripped down, Cage, Terry Riley. I see...That I can't put a name on it names itself.

NEW PAGES

http://arteonline.arq.br/a/ver_a_bighetti.html (Vera Bighetti - Brazil)

http://arteonline.arq.br/a/fr_a_zao.html (Marcelo Frazão - Brazil)

http://arteonline.arq.br/a/neufeldt_a.html (Brigitte Neufeudt - Germany)


WHICH MORE PAGES ARE READY?

http://arteonline.arq.br/a/a_ndrews.html (Jim Andrews - Canada)

http://arteonline.arq.br/a/b_a_bel.html (babel - Canada & UK)

http://arteonline.arq.br/a/bruno_a.html (Bruno - Brazil)


MORE COLLABORATIONS WILL BE READY SOON!


AUTHOR'S PAGES THAT ARE ALREADY READY:

http://arteonline.arq.br/a/um.html (Regina Pinto - Brazil)

http://arteonline.arq.br/a/dois.html (Regina Pinto - Brazil)

http://arteonline.arq.br/a/tres.html (Regina Pinto - Brazil)


How to collaborate?

Read the call at: http://arteonline.arq.br/a/call.htm and ... PARTICIPATE!

Updated List of Vispo Blogs

Let me know if there are others. A rich flurry of activity the last year or so on/in the vispostream. Look for a major anthology of vispo from 1998-2008 next year and look for a major survey of vispo from Klaus Peter Dencker. (Check out his work at Kaldron/Light & Dust: http://www.thing.net/~grist/l&d/dencker/dencker.htm)

Geof Huth
dbqp: visualizing poetics
http://dbqp.blogspot.com/

Crg Hill's poetry scorecard
http://scorecard.typepad.com/crag_hills_poetry_score/

Michael Jacobson
The New Post-literate: A Gallery Of Asemic Writing.
http://thenewpostliterate.blogspot.com/

Visuelle Poesie
Visuelle Poesie, Konkrete Poesie, Kunstreisen, Ideen, Aktuelles
http://visuelle-poesie.blogspot.com/

Fluxlist
The Fluxlist Blog is an online intermedia community of Fluxlist
members. Fluxlist is an internet discussion list for all things Fluxus.
http://fluxlist.blogspot.com/

mIEKAL aND
Data Visualization for the Synaptically Inspired
http://filevillage.info

 

Bob Grumman

poeticks.com

VISUAL SONIC VISCERAL
http://davidbaptistechirot.blogspot.com

and one i curate:
NOS OBRAS OTROS
http://nosobrasotros.blogspot.com

 

ted warnell's
http://codepo.blogspot.com/

daniel bradley's
http://fhole.blogspot.com/

ross priddle's
http://bentspoon.blogspot.com/

derya vural's
http://dryvrl.blogspot.com/

helen white's
http://www.krikri.be/helen/

marko niemi's
http://www.nokturno.org/

dan waber's
http://vispoets.com/

jenny sampirisi's
http://otherclutter.com/

suzan sari's
http://www.suzansari.blogspot.com/

Jukka-Pekka Kervinen's
http://jukkapekkakervinen.blogspot.com/

anrew topel's
http://vviissiioonnss.blogspot.com/

troy lloyd's
http://wordwithinword.blogspot.com/

reed altemus'
http://tonerworks.blogspot.com/

jim leftwich's
http://jimleftwichtextimagepoem.blogspot.com/

john moore williams'
http://fissuresofmen.blogspot.com/

peter ciccarielo's
http://invisiblenotes.blogspot.com/

gary barwin's
http://serifofnottingham.blogspot.com/

 

Mara Patricia Hernandez'
http://vizhewel.blogspot.com/

Ted Warnell's
http://codepo.blogspot.com/

Satu Kaikkonen's

http://vispoetrynewp.blogspot.com/
http://ccciccc.blogspot.com/
http://asemicnotes.blogspot.com/
http://abstractandvisualcomics.blogspot.com/

Various'
http://weeimage.blogspot.com/

unDress Beton (and others')
http://surrism.blogspot.com/

 

Anne Boyer

http://odalisqued.blogspot.com/

 

Jessica Smith

http://looktouch.wordpress.com/

 

K. Lorraine Graham

http://terminalhumming.blogspot.com/

 

C. Mehrle Bennett

http://www.flickr.com/photos/cmehrlbennett/

 

Infusoria

http://infusoria.blogspot.com/

 

Sharron Harris

http://www.theiloveyoublog.com/

 

Ash Smith

http://opened-by.blogspot.com/

 

Angela Genusa

http://packageinsertofsorrows.blogspot.com/

Michelle

 

http://www.daphnomancy.com/
http://www.wombpoetry.com/

Mike Cannell
http://visoundtextpoem.blogspot.com/

Abstract Comics
http://abstractcomics.blogspot.com/

Steven Nelson's Afterlights
http://afterlights.blogspot.com/

Poemics, out of Poland
http://poemicstrip.blogspot.com/


http://thenewpostliterate.blogspot.com/

Book Review: Anthology Spidertangle: new works from members of the Spidertangle email list

http://www.the-trades.com/article.php?id=11430

Click on the link below for Bob Grumman's review of the Spidertangle Anthology

http://comprepoetica.com/newblog/SPR/text0094.html

in which he contends that "the flow of the times in visio-textual art is away from the verbal." That may be so in this particular anthology and in the selection for Poetry Magazine, but having spent the last few months viewing hundreds of works from around the world, I would argue that there is a continuum of visual poetry being produced today from entirely verbal, i.e. concrete, to work with no "visible" verbal language. I don't see either end of the spectrum predominating. I contend visual poetry is carving deeply along every point of the visual-verbal continuum. The body of visual poetry--range, heft, depth--has never been richer.

Jurgen Olbrich's Autopoems

Out of Kassel, Germany, Jurgen Olbrich has been a juggernaut in mail art, performance art, and conceptual installation since the early 1980s. Receiving an envelope from him stuffed with postcards and other ephemera always made my day. It's been a delight to reconnect with him this year. Life's long yet a decade's absence abcesses.

In the 1980s, SCORE published several pages of Jurgen's autopoems (see here). Jurgen writes these poems by transcribing the license plates that pass him during a thirty minute period. Below are two recent autopoems, the first composed in Berlin, the second in Frankfurt. Not only conceptual poems (preceding and surpassing the Goldsmith tedium), both also offer up themselves as sound poetry scores.

As I Work on an Essay on Xerolage, an in-Progress Interview with mIEKAL aND

CHill: When Xerolage first appeared in the 1980s, there were many small press magazines publishing visual poetry and xerox art--Kaldron, Photostatic, Lost & Found Times, Score, Generator, among them. Whatwould Xerolage add to that body of work?

MAnd: That's a long time back to remember but I should point out that the phrase visual poetry was not in such wide circulation in the early 80s & there were many, many ideas circulating about what follows concrete poetry.  My own approach included prose, poetry, typography & visuals so I favored calling work my work & the work of others visual/verbal literature, a term that I liked because it seemed more inclusive than visual poetry.  Xerolage comes out of wanting to make the space to focus on single author works that were created for a specific magazine format.  One that was particularly easy to reproduce on a copier. So many things have been fit into that frame: copy art, mail art, collage, visual & concrete poetry, scores, found, graphism, conceptual.

 

CHill: Though the term visual poetry indeed was not in wide circulation (not even in a wet dream at Poetry Magazine), the above mags would have been using it. SCORE used the term in its first issue, 1983. I agree that the term visual/verbal literature works is inclusive of visual poetry, and thus also including prose with visuals as well, e.g. your "Erotic Logic" and much of Michael Helsem's work.

Some Qs bouncing off your answer above: Mail art may have been at its peak in the 1980s, projects including all that you mentioned above for Xerolage--copy art, collage, visual/concrete poetry, scores, found art, and conceptual art--How did you see Xerolage speaking to, interacting with, mail art? What was Xerolage attempting to do that mail art was not doing? Or, what do you want to do more of that mail art was doing?

mIEKAL: In the 80s one didn't have to seek mail art out, it just appeared at the door, solicited, unsolicited, surprising & not.  Even back then there were 2 streams as far as I was concerned.  One stream was the garbage in garbage out school, mostly recycling images of popular media such as Reagan, Nixon etc & I have always found that work wearisome. The other stream was a fascinating network of artist / poets mostly working in isolation, many of them from eastern bloc countries, who had to devise ways to even get their mail out of the country.  While a lot of this work was piggybacked on the Fluxus movement, it was remarkably fresh & alive (I'll avoid the use of the word original), constantly changing & growing, & in my mind consciously created for the network of viewers who were receiving these packages.  In that sense, the work was offered, not to a random audience, but to an energetic collective of like-minds, many whom are still in contact with each other 30 years later.  So while the content was / is always important to me, the mode of transmission lent an air of person-to-person value.  When the  internet came along, a lot of mail art stopped being interesting in the same way, because suddenly there was a whole new way to get one's work around.  It has always been a little mysterious to me that it took so many folks 10-15 years to make that switch.

Xerolage has never been identified with movements or genres as such.  It has always been about creating a frame to see the work of single artists alongside of some sense of who they are as a person, because I have always believed the person & the work go hand-in-hand.  I also have been committed to questioning what visual poetry can be by selecting work & artists that would never think of themselves as visual poets yet their work navigates the same proximity.  

Chill: I’m intrigued by your statement that you believe the person and the work go hand-in-hand. Tell me more? How does the person and the work go hand-in-hand in a Xerolage issue such as Vittore Baroni’s “Sangue Misto” (Xerolage 7) or Greg Evason in his issue (Xerolage 12).

Awaiting an answer from mIEKAL.

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