mIEKAL aND: email
TO CONVERSE NOT WITH ONE'S SELF WHERE THE BOOKS ARE NOT OF PAPER
My relation to creating new works has very very changed over the years. It also coincided with the completion of a novel where the last line was, "& the next book will contain no recognizable words" & since then I've almost exclusively been doing collaborations. It locates my imagination outside of myself. It's about listening & the space between words sounds & images. That is where the imagination is located.
Like Duncan says responsibility is the ability to respond. There are ways to design openings or bridges which allow folks to continuously migrate or have interest in a medium which maybe will take a while to accept.
Perhaps the notion that the global mind is anything but chaotic is the problem. Even a global mind hardwired with the latest software. I think the implications of what we are doing as designers & poets & artists will have a minute affect over a long period of time. But if I don't design my works so they can live on, will they even have a life after I stop promoting them? Say 200 years from now. Someone in a mars space station wants to get their dose of mIEKAL aND & maybe I've not set my works up so they exist without me.
Social & personal politics is largely what defines the success of any collaboration. Chance operation is only one way to "side step" those politics. There will always be struggles associated with collaborating deeply with someone that aren't all that different than living with the person. A whole grabbag of issues & relations that have to be developed, nurtured enough to provide a footing for a creative project to take place. For instance I'm very affected by the theorem in
physics that the brain is a 3-D decoder for a holographic universe. So our experience of reality is limited by our very very ambiguous 3 dimensional language. I've spent a lot of time exploring other concepts of space like shamanic & aborigine & all that I'm ever left with is that reality is language construct.
We are cells of a super-consciousness that is only in the very first seconds of becoming self aware. We are just another dinosaur in the bigger picture. The people who stand to have the most chance of affecting changes to politics, community, technology, ecology are indeed slowly becoming co-existent in a space that never existed before. & the problem is the way I am talking about it. Because our language is so limited by words that are not empowered but are weighted down by connotations & assumptions.
How one can start taking advantage of the performative aspects of image culture & in particular, do we need passive
audiences anymore but maybe 10 people participating is more fruitful than 1000 listening.
Opems are my pomes, a forms of improvisational manuscript poeming with variable entry points and without time restriction or bondage that calls for a concentration of performed poetic trajectories as they originate via the keys with any opem. Make them umbleuttphabite and others.
Be Blank Consort (Performance Group):
THE BE BLANK CONSORT was born in June 2001 at the Atlantic Center for the Arts (New Smyrna Beach, Florida) when all of its members were part of a literary residency convened by Richard Kostelanetz. We are all writers, but we all use language in greatly expanded and often completely new ways and contexts. THE CONSORT was formed to perform various kinds of texts and visual texts, many of them created collaboratively, in ways that would reveal new resonances and possibilities in them. Some of the pieces are poems written by one of us and scored for multiple voices by another. A few are entirely written and scored by one person. Many more were written in collaboration between two or more of the performers and others. Scott Helmes, in January 2002, initiated the first poems specifically designed for performance by THE CONSORT and many have followed since, created by all the members.
THE CONSORT has performed numerous times in Miami, New York, Columbus, Minneapolis, and other venues, and has released a CD, SOUND MESS: + OTHER POEMS.
John M. Bennett: email
John M. Bennett has published over 200 books and chapbooks of poetry and other materials. Among the most recent are rOlling COMBers (Potes & Poets Press), MAILER LEAVES HAM (Pantograph Press), LOOSE WATCH (Invisible Press), CHAC PROSTIBULARIO (with Ivan Arguelles; Pavement Saw Press), HISTORIETAS ALFABETICAS (Luna Bisonte Prods), PUBLIC CUBE (Luna Bisonte Prods), THE PEEL (Anabasis Press), and GLUE (xPress(ed)). He has published, exhibited and performed his word art worldwide in thousands of publications and venues. He was editor and publisher of LOST AND FOUND TIMES (1975-2005), and is Curator of the Avant Writing Collection at The Ohio State University Libraries. Richard Kostelanetz has called him “the seminal American poet of my generation”. His work, publications, and papers are collected in several major institutions, including Washington University (St. Louis), SUNY Buffalo, The Ohio State University, The Museum of Modern Art, and other major libraries.
Bufffluxus (Performance Group):
BuffFluxus first appeared on the Ed Sullivan Show in 1956. Moving to Liverpool in 1962 BuffFluxus spear-headed the Mersy Beat and then moved to San Francisco where the ensemble was joined by Janis Joplin and Big Brother and the Holding Company. The voices of BuffFluxus can be heard in the background of the song Turtle Blues on the album
Cheap Thrills. Among the many publications of BuffFluxus are: Collected Poems, Selected Poems, New poems, Ten Poems and Pomes Pennyeach.
John Byrum: any phenomenon, i.e., any situation available to [an] awareness, can be considered as an ‘art object’.
Amy Sara Carroll
Dave Baptiste Chirot: Visual Poetry: There are as many definitions as there are poets. For myself it is: a hieroglyph of site/sight/cite--the site of the page, the sight of the image, the cite of the words/letters/sounds. It is an anarkeylogical simultaneity of
memory, dream, imagination and concrete fact. Visual Poetry is a continuum from the cave paintings and petroglyphs to the vision machines/computers of today. It is the continual exploration and finding of montages/ juxtapostions/ interelationships among the visual and aural experiences of notations, signs, colors, forms as questionings and presentations of possibilities of community/communication. I have a profound belief in the uncanny recognition of the existence and experience of the found. By having endured so long, the message, meanings of cave paintings have been lost. Yet we experience immediately the uncanny recognition of their communicating. The same may occur with things found in the street. Visual Poetry works with this experience--and in this way brings ever more of a heightened awareness of all that is signing/singing. It is continually finding new/anceint languages in the found that is all about one.
rubBEings: may be the oldest form of copy art. Walking around the city, I found materials to work with all around me. These materials, unlike the found ones I use in Visual Poetry, cannnot be picked up and transported. One has to go to
them--find them by walking and being aware of them. Paradoxically they also come to one--by their signings/singings they bring attention to themselves. This finding and being found by the materials is integral to working with rubBEings. Touch is also. Touch as well as the eyes--and ears-- guides one in their making. With rubBEings, it is the thing itself which writes--it is not only oneself, but this uncanny other which is present in the making and on the page. The city writes and speaks itself. Rearranging the found elements is to join in this writing/speaking, to be participant with them. By moving from site to site, one is combining scattered elements to make new arrangements of and with this all-over experience of the environment one is in.
K.S. Ernst: email
I work in “Visual Poetry,” an art in which the form or format of the poem becomes integrated so completely with the content that changing the form destroys or changes the meaning of the poem. I am interested in words and letters as
symbols — their basic symbolic make-up as well as their representational use. Thus it is words and letters rather than a given medium that form a common thread through all my work. I work in a variety of media including collage, watercolor, sculpture, assemblages, and environmental pieces. I regard all of my
pieces as poems, books, or book objects.
William R. Howe
What is the shape of a word? In your eye, how does it catch the light? In your mouth, how does it feel against your tongue? In your mind, has it the weight of a stone?
Most of my writing and wordmaking is concerned with answering these questions, with examining language as a cultural and physical construct. That's why I write poems in ways that make it obvious they are creations of language.
I make poems of only a single word, poems of nothing but punctuation marks, macaronic poems, poems consisting of found bits of text, poems written directly in French (a language I can read fairly well but can write only barely), hermetic poems where every word or thought is abbreviated, and even poems in my invented language Romana.
I make poems that are cryptic memorials to old ways of making poems (sonnets, rhyme schemes, meter), poems filled with puns (verbal, visual, multilingual), poems fashioned to the page by various means (handwriting, typewriting, collage, computer printing, painting).
I make poems that are optical illusions, songs, mathematical formulae, objects, computer programs, toys.
I make poems out of colors, shapes, sounds, metal, wood, crayon, graphite, ink, pixels, movement, computer bits, and words.
Poems are artistic works created from charged pieces of language. As such, they are forced into the role of conveying meaning, providing sense. But poems traditionally divulge their meaning less abruptly than prose. Poems are coy and sly. If you look carefully, you will see that mine are poems about what signs means, about the limits of language, about language as sound and text, about the very existence of meaning.
For years I have been in search of a language that could transcend the limitations of the ones that remain buried in grammars and dictionaries. Language is a form of communication. The question is of what kind of communication. Given the nature of the society we are living, it seems that language is more a tool of deceive than of revelation as it was suppose to be. The “Language of the Birds’’ became, then, the utopia of many poets and occultists.
Excluding the opportunity of achieving that utopia I have chosen, like many other poets, the “bricolage’’ between words and images in order to create my own way of revealing what otherwise seems impossible to do with conven- tional language.
The works are seen as “morsels” passing through the eye into charge-acts effective enough for their relatively simple purpose, namely, to sweep into the interior of the body. With that transit these morsels become forthwith lost to mind; lost except that recollection may recall them as part of a past situation. Muscles and nerves are no longer engaged upon them while they pour nutriment into every nook and corner of the body.
I also feel that I have a necessity to recognize relative value in what appears to have no absolute value at all—that the very same hostility which, as we have seen, produced the first stylistic characterization of concrete poetry also produced its first historical evaluation. These morsels aim to bestow warm praise upon a whole series of high- and late-concrete monuments to sound and vision. Says Thomas Alther: “Scourge to the hordes of epigonic charlatanry, Douglas Manson’s visual works are languorous sands designed to entrance.”
Douglas Manson is a poet/scholar/teacher living in Buffalo. New work is in The Gig 18, and also published A Book of Birthdays (2005) and the spoonerist long poem The Dew Neal (2004). Joins Basinski’s Buffluxus for occasional forays, and hosts the Poetry Radio hour Inks Audible on WHLD 1270 AM in Buffalo.
Dimensionality is called to light when words and image interweave. Much like a sonata, neither of the prior individual disciplines (writing and digital painting) functions as accompaniment. This “newer” medium is neither “decoration of text” nor “something to read while you look at art.” Rather, in the best of worlds, these two entities emerge as a combined whole that one presumes is able to accomplish more, to encompass more layers and levels of being than either would be able to do independent of the other.
The works being submitted represent a small sample of different projects. There is a conscious attempt to limit verbiage (with the exception of the work using the large text “flash fiction,” in which a freshly composed text appears in a separate layer intended to strengthen the sense of the entity), self-consciously calling upon the label “draft” that is repeated throughout the piece, and that potentially applies to all creation based in a temporal setting.
Ironic reversal of meaning is a natural occurrence in visual poetry, as exemplified by color usage in the piece that includes the words “yellow wide enough.” A different utilization of text and image bolsters the concepts of process and product in the piece that includes “out // come” and “the work is all.” The piece that uses the words “Most of light” allows text and image to participate in a mutually-enhancing dialogic pattern, while engaging in sforzando and diminuendo processes peculiar to the previously independent disciplines that are called upon to interact.
My prolific textual work of the past nearly three decades continues to emerge. My digital art sans text has been developing over the past four years. The two areas have been joined into a third, separate discipline more recently. Of some importance is the fact that the original discipline on which I was surely hot-wired at the age of 10, is music, specifically flute and voice performance, with major study in theory and composition.
In my work I try to be a pleasure to others. I use flowers to portray themes such as aspiration, yearning, and passion. This is true. My things navigate through the most obscene, uncomfortable, and disturbing aspects of the psyche in order to stimulate a deep archaic root of radical libidinousness.
Dramatic contrasts of moral values appeal to me, I use them to trace moments I have imagined. Each sketch acts as a guidespost to ensure that I dont take my/yourself too seriously, but just seriously enough..
Nadja Sayej: email
Soviet Union (ideologically) and concern itself with: gradual elimination of fine arts (music, theatre, poetry, fiction, “painting,” sculpture, etc., etc.). This is motivated by the desire to stop the waste of material and human resources (like yourself), and divert it to socially constructive ends. Such as applied arts would be (journalism, industrial design, architecture, engineering, graphic-typographic arts, printing, etc.)/ These are all mostly closely related fields to fine arts and offer best alternative professions to fine artists.
Thus Fluxus is definitely against art-object as non-functional commodity—to be sold and to make livelihood for an artist. It would temporarily have the pedagogical function of teaching people the needlessness of art, including the eventual needlessness of itself. It should not be therefore permanent. (Incidentally one good way of teaching is by satirizing art and satirizing avant-garde art! Or itself! –you will notice this in the 1st V TRE newspaper I am mailing as printed matter to you).
Fluxus is therefore ANTIPROFESSIONAL (against professional art or artists making livelihood from art or artists spending their full time or their life on art).
Secondly, Fluxus is against art as medium or vehicle promoting artist’s ego, since applied art should express the objective problem to be solved, not artists’ personality or his ego. Fluxus therefore should tend towards collective spirit, anonymity and ANTO-INDIVIDUALISM—also ANTI-EUROPANISM (Europe being the place supporting most strongly and even originating the idea of—professional artist, art—for art ideology, expression of artists ego through art, etc., etc.).
These Fluxus concerts, publications etc., are at best transitional (a few years) and temporary until such time when fine art can be totally eliminated (or at least its institutional forms) and artists find other employment. It is very important therefore that you find a profession from which you could make a living.
This is as brief as I can write it. - George Maciunas, 1964.
Wendy Collin Sorin:
My art work is informed by my love of literature, especially poetry. Whether responding to the giants of the canon, such as e.e. cummings, Wallace Stevens and Rainer Maria Rilke, or to the work of writers with whom I collaborate in real time and space, language is my primary catalyst. These dialogues are a shared journey, a conversation in art. Communications between my writer-partners and me are supplemented by email correspondence. Along with the poems and images, ideas, questions and answers are also exchanged, which, in turn, generate new thoughts and work.
In the fall of 2000, I was an artist-in-residence for five weeks at the Grafikwerkstatt in Dresden, Germany. This program, a yearly exchange among two Ohio printmakers and two from Dresden, is hosted in Cleveland by Zygote Press and is sponsored by the Ohio Arts Council. I took my sketchbook with me everywhere and put everything into it: diary notes, copied signage, saved tickets and other pieces of ephemera, sketches of rocks and rooftops, new vocabulary words, tickets, directions, maps. I explored words as theme and visual element from a new and stimulating, yet uneasy, perspective. As a Jew, I was uncertain about going to Germany. At the same time I thrilled to each new discovery in the exquisitely beautiful old city, I also searched for ways to express my feelings of loss and sadness which were brought to a heart-wrenching, mind-numbing realization one gray, windy day in the Buchenwald death camp. Using old German texts and military identification papers found in the local flea market, I cut apart words and recombined them for rhyming effect and to create patterns in black and white. The collages were an attempt to strip meaning from a language which for me had always been associated with the hate propaganda of the Nazis. More recently, my exploration of language deconstruction has gone beyond recognizable words where individual letters are divided into various and changing shapes and reconfigured into an imaginary, mutating alphabet of unreadable, untranslatable abstract symbols.
Things Not Worth Keeping:
TNWK* is a collaborative authorship of interdisciplinary poetic textual and visual practices. Their work is about issues raised by co-authorship, site-responsiveness, conversation and participation, using a diversity rather than a singularity of modes and medias to explore questions of value.
All of my graphical art is writing.
That may not have been true of everything that I made in the early years, but it quickly became so; and by the time I made that de facto decision, anything which might have been seen as an exception was dropped anyway.
The visual appearance of writing is often quite utilitarian. The alphabet and the various conventions of layout are accepted and utilised as a means of communicating a literary work, but not part of it.
Too often, neatness and tidiness are assumed to be virtuous; and much is sacrificed to an assumption that what is not neat and tidy is in error or is inferior or sloppy.
My visual poetry is in part an attempt to find means of expression beyond the restrictions arising from the time and motion needs of the printer and publisher. It is an attempt to redress the paucity of the alphabet and standard publication as a notation for utterance. It is an act made in the belief that much was lost, although I accept that much was gained, when inscription moved away from the pictographic into the alphabetic.
It is a recognition that there are modes of graphic art which are neither figurative nor abstract but linguistic.
Nico Vassilakis lives in Seattle. He is a member of the Subtext Collective (www.speakeasy.org/subtext). Recently, his "concrete films" have been shown at Rencontres Internationales Paris/Berlin, Encuentro Internacional de Poesia Visual , Sonora y Experimental ( Argentina ), ERRATA AND CONTRADICTION :: 2004 :: Dudley House (Harvard) & elsewhere. More of his work can be found in Chain, Talisman, 3rd Bed, Ubu, Bird Dog & Traverse. He is publisher of Sub Rosa Press.
All forms of expression are particulate. Individual works represent artifacts extracted from the flow of conception. Inasmuch as they stimulate reaction in a moment of encounter, they also portray what has been left behind.
Louise Weinberg: email
With a background in painting, collage and mixed media, my current body of work is primarily photographic. The urge to manipulate and combine images never ceases though. In these works, compelling images are combined with language, either original or borrowed, used either as titles or as texts.
In “Relearn the Lesson” and “Practice Seeing Another Way,” the events of 9/11 that I witnessed from my living room window in Long Island City are the basis for works made in 2002 in an attempt to process and come to terms with that terrible morning.
The natural world constantly asserts itself with recurring images such as feathers or plant life, poetic equivalencies which suggest the passage of time, death, decay, and ultimately, transformation. The works deal with memory and loss. Hopefully they illuminate aspects of the human condition.
Preview of 'SoundVision/VisionSound III:
7 JULY 2005
Music by Dreamchild
Frank Gerace and Cheryl Wanner of Dreamchild are well known as composers and musicians in the Boston area. They have just released their third full-length CD, "Lullabies for the Dead". This follows their other two CDs, "Gates to the Sea" and "La Fée Verte", which have been critically acclaimed nationally and internationally.
As Dreamchild, they are known for the intensity of their theatrical and "over the top" live performances, utilizing looping/sampling devices and unusual instrumentation to dramatically recreate their songs with nothing pre-recorded - it is all live and in the moment.
13 JULY 2005
7:30-9:30 P.M.: Performance at The Nave Gallery
7:30 PM Sound Texts/New Music by Performance Thanatology
8:00 PM Curator's Talk-William R. Howe
8:30 PM Artists Talks-Chris Fritton and others
9:00 PM Screening of short works by Nico Vassilakis
14 JULY 2005
5-7 P.M.: Opening reception at The Nave Gallery
7:30 PM Michael Basinski
8:00 PM Screening of Short works by Caterina Davinio
8:30 PM Christopher Fritton
9:00 PM Screening of short works by Camille Bacos and mIEKAL aND
15 JULY 2005: ARTBEAT!
7:30-9:30 P.M. Performance at The Nave Gallery
7:30 PM Screening of short works by Nico Vassilakis
8:00 PM Be Blank Consort
8:30 PM William R. Howe
9:00 PM Bufffluxus
16 JULY 2005: ARTBEAT!
Performance at The Nave Gallery
3:00 PM Round Table Discussion
3:30 PM Matt Chambers
4:00 PM John M. Bennett
4:30 PM Geof Huth