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)
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.
Andrew Topel, visual poet of commanding technique, is a rightful heir to lettrism. View this series piece by piece full screen (click on the image to get larger image), then view on the blog scrolling at various speeds top to bottom through the series to get a sense of the series as a whole. What would a sound/musical score sound like for a film of this series?
I respectfully disagree. The visual poet sees into and through(/with)
the world (seizes the world), reflecting off and under and above objects,
behind and below the flat edges of words, seizing surfaces (perhaps the primary
planes of a visual poem’s expressive field), transmuting them. Visual poets see
the world as more than surfaces, more than words. Sure, shapes hinder and aid
and lie, sign getting in the way of signified, but words do too.
Poets Crag Hill and Geof Huth will give a reading entitled "Sightings & Hearings" at the Stain Bar in Brooklyn, New York, on November 16th. Combining their interest in visual, sound, and even textual poetry, they will read and perform, together and apart, a wide range of works. This will be the first time Hill and Huth have performed together since their performance in March of this year, so don't miss this east coast appearance. If a reading isn't enough encouragement, Stain Bar has a great selection of New-York-only beer and other drinks.
Crag Hill and Geof Huth Friday, 16 November 2007 6:30 pm Stain Bar 766 Grand Street Brooklyn, New York 718/387-7840
To get to Stain Bar, take the L train to Grand and go one block west to 766 Grand Street by the way of Graham Avenue and Humboldt Street.
Bios of the Performers:
Crag Hill has been exploring the world through the prisms of verbal and visual language since his re-birth in the 1970s. Writer of numerous chapbooks and/or other print interventions, including Dict (Xexoxial Endarchy), Another Switch (Norton Coker Press), and Yes James, Yes Joyce (Loose Gravel Press), he has also once edited two magazines, Score and its successor Spore. His latest book, co-edited with Bob Grumman, is Writing to be Seen, the first major anthology of visual poetry in 30 years. He writes frequently about poetry at his blog, Crg Hill's poetry scorecard.
Geof Huth is a writer of textual and visual poetry who has lived on most of the continents on earth. He writes frequently about visual poetry, especially on his weblog, dbqp: visualizing poetics. His chapbooks include "Analphabet," "The Dreams of the Fishwife," "ghostlight," "Peristyle," "To a Small Stream of Water (or Ditch)," and "wreadings." Huth edited &2: an/thology of Pwoermds, the first-ever anthology of one-word poems. His most recent books are a box of pages entitled water vapour and the chapbook, "Out of Character."
1. Are your students representative of people (Americans?) (younger Americans?) as a whole?
2. Are they more or less resistant to new art than a similar sample would have been 10 years ago? 5? 50?
3. Does their resistance carry across all genres? Are they as unexcited by new music as they are by new words or new images?
4. Do they feel that they enjoy a wide array of types of artwork? Do they feel that the various artworks that you think are varied are, in fact, varied, or do they think that they are rather similar compared to the range of artworks that they appreciate?
5. Is the goal of art appreciation the endless quest for novelty? Is the goal of art appreciation the ability to appreciate all art? Is the goal of art appreciation to make one happier? Is the goal of art appreciation to make one able to appreciate all types of art so that no matter what artistic situation you are in, you will be able to appreciate it, and thus be happy? (Substitute other words for "happy" ad lib.)
6. If your students loved novelty, what would your job as teacher be? If your students loved novelty, would they have already sought it out for themselves? If your students loved novelty, would it force you, as a teacher, to search even harder for novelty, in order to "stay ahead of them"? If your students loved novelty, would it lead to a situation where they were teaching you as much as you were teaching them? If your students loved novelty, would you be out of a job?
7. Which experimental poets have best taken advantage of audiences' love of being fast-fed their entertainment? Which experimental poets have used audiences' love of being fast-fed their entertainment to negotiate with the audience by giving them what they want in order to drag them to a place they didn't know they wanted to go to? Would such an approach still be "experimental"? Would it be "selling out"? Would it be "worthwhile"? Would it make you "unpopular in the experimental poetry community", perhaps like a populist historian among academic historians?
Then, over the next week or so, I'll work on answering Chris' questions.