Crg Hill's poetry scorecard

S'kid'S

Call for Mail Art: Stickerman Museum, Tokyo Annex

You are invited to contribute to the newly opened  

 

Stickerman Museum, Tokyo Annex

 

Please send your and other people's stickers (and any story/comment/etc. you may have about the stickers' design, origin, etc.) to:

 

Stickerman Museum, Tokyo Annex

Gianni Simone

3-3-23 Nagatsuta

Midori-ku

Yokohama-shi

226-0027 Kanagawa-ken

Japan

 

The collection wil be documented in the SM,TA page at http://gloomy-sundays.blogspot.com

 

Send at least 10 different stickers and you will receive a 10-page full-colour documentation.

 

This is an ongoing project.

 

Please spread the word, and let me know if you don't want to be bothered with these mail art SPAMs anymore.

 

Best - Gianni

Wide-angled Review of Loose Watch, Lost & Found Time Anthology:

Forwarded from John M. Bennett & Spidertangle, click on the link below with a cool, slow stout in hand.

 

http://www.3ammagazine.com/3am/lost-and-found-times/

 

Flippant

From Jim Andrews: Links to papers on digital lit

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

ja
http://vispo.com

PROTRACTED TYPE: a collection of visual poetry.

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
 


 
 

MidStream

 

House was significance. Thought straight toward the woods. They fly toward and under while the near woods which.

Found Poem:

groww

Another New Xerolage: 43

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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. 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