Crg Hill's poetry scorecard

New Visual Poetry Blog: New Poetry Forms

http://newpoetryforms.blogspot.com/

Some stunning hand- and machine made work from: 

• karl kempton
• ben fry
• noah wardrip-fruin
• kris rzepka
• nico vassilakis
• reconnoitre
• yoshi sodeoka
• w. b. paley
• lisa jevbratt
• simon biggs
• gustave morin
• adrien m / claire b
• ben gotow
• kathy marmor
• peter cho
• jason nelson
• jim andrews
• a. patrick liszkiewicz
• peter k. koch
• litsa spathi
• derek beaulieu
• julian hibbard
• tiemen rapati
• hansje van halem
• ebon heath
• diana lange
• boris müller
• andrew topel
• eric zboya
• jörg piringer
• anatol knotek

 

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/

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.

Andrew Topel's Daylight to Midnight Series Posted

at his blog "vviissiioonnss":

http://vviissiioonnss.blogspot.com/search/label/from%20daylight%20to%20midnight

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?

Zooming In On, Then Out of Nick Piombino's Free Fall

Watch a video of Nick Piombino's Free Fall (music by Mike Burakoff) now up on The Continental Review, Nicholas Manning¹s poetry video blog:
http://www.thecontinentalreview.com/

I especially was moved/moving by the last minute's devolve.

Response to Geof Huth Comment

Geof Huth wrote: The visual poet never sees the world, only the surface of the world, the shapes that lie upon it both hindering and aiding sight.

 
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.

 

Re-Issue of Silo- Académe 23, an anthology of visual poetry

Lucien Suel weblogs some visual poems from Silo- Académe 23 by Hill, Huth, Kempton, Bennett, Miskowski (where is Mike Miskowski these days) and others: http://academie23.blogspot.com/2007/12/anthologie-posie-visuelle-crag-hill.html

See You This Friday, In Person or in Spirit: Huth & Hill, Stain Bar Brooklyn, 11-16-07

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."

Beginning Responses to Chris Piuma's Questions

First, I've got to bring Chris Piuma's challenging, much-much-appreciated questions out of the poetryscorecard comment dungeon (if we only had more of these questions in our classrooms, our homes, our poems):

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.

Bob Grumman's DORIS CROSS & MAGIC VERSUS THE THAT & Other Crossings

Hmm.. It's time for someone to do a major show of Doris Cross' work. Karl Kempton and Bob Grumman have been two of the torchbearers making sure we don't forget her work. Time to introudce it to others. Start with this post by Grumman: http://comprepoetica.com/newblog/Index.html

Then go to this intro by Kempton to a Cross selection on Light & Dust: http://www.thing.net/~grist/l&d/dcross00.htm

Check out this article from Art in America, too: http://www.findarticles.com/p/articles/mi_m1248/is_8_92/ai_n6196989