Category: Poetry


#occupy

The New Age Demanded

The age demanded an image

Of its accelerated grimace,

Something for the modern stage,

Not, at any rate, an Attic grace

 . . .

The “age demanded” chiefly a mould in plaster,

Made with no loss of time,

A prose kinema, not, not assuredly, alabaster

Or the “sculpture” of rhyme.

by Jon Rafman Continue reading

image from Charles Bernstein on Jacket 2

 

 

 

A dog-eared page — a folded corner — is the simplest memory system: it marks a stopping point, a favorite passage, a place to remember. Along with marginalia, underlining, and other notational strategies, dog ears map a history of reading and remind us that reading is a physical act: an encounter with words, to be sure, but also a tactile experience with paper and individual pages of a book. A dog ear is legible as a readerly engagement with the material text. Someone read this; someone stopped here.

Erica Baum’s book Dog Ear  (Ugly Duckling Presse, 2011) makes this point and takes it further. In Baum’s rendering, the dog ear presents an activist readerly engagement: by folding a page, the reader creates a new site of meaning, a square of text to be encountered not as placeholder but as a rich cluster of words, selected (appropriated, deformed) by the reader’s hand.

Here, Jacket2 presents eighteen photographs from Dog Ear, whose publication coincides with a solo exhibition, Shuffled Glances, at the Bureau gallery in New York (April 3–May 18, 2011). Click on any image below to enlarge it. Go here to read an essay by Kaegan Sparks about Baum’s work.

things else with

known limits

fallout from

cooling

lovely

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Tan Lin’s Introduction for Peripheral Writing in EOAGH: A Journal of the Arts

“This issue looks at how and in what spaces writing takes place, i.e. the ambient environment of reading as well as the ecology of writing practices. If the amount of text being generated today is voluminous and threatens to transform a once-visual era into one structured by data and various communications protocols, the site specificity of the EOAGH cluster is distributive and ethnographic, like a reblog. What would an ethnography of writing look like? In an environment of re-circulated PDFs, scripting languages, the built environment, e-commerce, photo sharing as a discursive practice, network architectures, and the social more generally conceived, forms of non-writing comprise a re-distribution within the sphere formerly known as poetry. From this generic standpoint, the spaces poetry is said to occupy, or drift in create shared or communal references and appropriations. A few authors are a few allusions. Although individual authors are listed, a page functions best without them.

Tim had initially inquired about an issue of ambience, as a literary idea, and this section of EOAGH tries to site ambience, where ambience is understood as a medium rather than a genre. Non-writing is one of the forms such a medium might take.

For this particular issue I asked individuals to: send anything that is PERIPHERAL to their current writing (these could be actual words) or current writing practice (more generally), i.e. not immediately sensitive to a desire to do writing or intended to “be” writing. It can be an image, a text you’ve read and not really thought about, a thought about something that you didn’t write about etc etc etc. It can be a series of linked items or it can be a single item, anything really but unconstrained by a desire to make it into something that it is not. It should not have much to do with you, at least textually speaking.

I’m hoping this project might continue beyond the strict bounds of the invitation, with further entries submitted post February 1.”

 

Darren Wershler-Henry

Darren Wreshler (Henry) is the author or co-author of 12 books, most recently, Guy Maddin’s My Winnipeg, and Update, with Bill Kennedy. Darren is an Assistant Professor of English at Concordia University, where he works with the Technoculture, Art and Games (TAG) group, and is also part of the faculty at the CFC Media Lab TELUS Interactive Art & Entertainment Program.

His Blog alienated.net–the most visible part of Darren’s brain.

PDF’s of The Tapeworm Foundry, a single unpunctuated sentence of pro-Situ proposals that resembles a social virus more than a functioning data-organism, its litany of avant-garde projects linked only by the seemingly innocuous, but progressively more imperative-sounding, “andor.”

http://www.ubu.com/ubu/wershler_tapeworm.html

Internet poem Nicholodeon, a seemingly exhaustive survey of the possibilities of concrete and process-based poetry in the Nineties, organized like a paper database with icons to guide the wary reader toward conceptual handles.

http://archives.chbooks.com/online_books/nicholodeon/

Update Terms of Service: This book will publish unauthorized communications. It will collect content or information using an automated means, employing harvesting bots, robots, spiders and/or scrapers without permission. It will engage in multi-level marketing. It may contain viruses or other malicious code. It may bully, intimidate and harass. It will contain content that is hateful, threatening and pornographic. It may contain nudity or graphic and gratuitous violence. It will have no age-based restrictions. It will be unlawful and misleading, and could disable, overburden or impair the proper workings of literature. It will facilitate and encourage the violation of poetry. It will let the dead speak.

Poetry in cyberspace. Virtual poetry readings. Post-poetry reading author events

Lara Glenum

“Get minky in the momodrome with Lara Glenum’s second book, MAXIMUM GAGA. In scenic Catatonia, the Normopath snoozles, the Cherubim applaud, King Minus lies face-down, the Visual Mercenaries burst in, Icky and his school-boy minions race past, and the Queen Naked Mole Rat climbs inside the miraculating machine. Reworking the tabloid maximalism of Jacobean drama, this book investigates the politics of aesthetics and prosthetics, gender and power.”
Lara Glenum

Lara Glenum

Manifesto of the Anti-Real

1. Art is neither a form of consolation nor a butler to hegemonies. Even in its most discreet moments, art explodes.

2. The Anti-Real does not deny the Real.* The Anti-Real knows that everything is in annihilation in the Sublime. The Anti-Real is that which seeks to manifest itself through the secret side-door to the Sublime rather than through the mock world of realism.

3. Realism is the bordello of those who would have their perceptions affirmed rather than dilated. When the door of fascism is opened, Realism will be seen lounging like a whore in its inner sanctum.

4. The Apocalypse is a way of thinking. Only the Apocalyptic clock announces from atop the grotesque pile of refuse, ‘The Kingdom of Heaven is now.’

5. Irony is not a device. It is a state of being.

6. To be Anti-Real is not to be Surreal. The achievement of Surrealism lies in displacing correspondences, in the poem not arriving. In the Anti-Real, all assumptions are disabled, too, with one difference: the Anti-Real displaces causal logic with a totalizing logic of violence.

7. ‘Defile! Defile!’ shriek the Obliterati as they vandalize the museum of language.

8. Sentimentality is a form of exploitation, a connivance with official lies. Hang sentimentality on the gallows of Emergency.

*Even though the Real does not exist

MAXIMUM GAGA