Tuesday, June 30, 2009
Monday, June 29, 2009
Text Loses Time
Longhand into Tiny Notebooks I Carry for Months:
Fragments towards a Review of Nico Vassilakis’
Text Loses Time by Geof Huth, dbqp: vizualizing poetics
Sunday, June 28, 2009
Saturday, June 27, 2009
Friday, June 26, 2009
Thursday, June 25, 2009
Underground Voices
John Grochalski:
Two Poems, Underground Voices, May 2009
Two Poems, Underground Voices, January 2009
Three Poems, Underground Voices, October 2008
Two Poems, Underground Voices, July 2008
Two Poems, Underground Voices, May 2009
Two Poems, Underground Voices, January 2009
Three Poems, Underground Voices, October 2008
Two Poems, Underground Voices, July 2008
Wednesday, June 24, 2009
Tuesday, June 23, 2009
Monday, June 22, 2009
Sunday, June 21, 2009
Saturday, June 20, 2009
Friday, June 19, 2009
Thursday, June 18, 2009
Wednesday, June 17, 2009
The Flag
Piotr Gwiazda:
The Flag, Beltway Poetry Quarterly
Ivan Weiss reviews "Gagarin Street"
by Piotr Gwiazda, Jacket #31
The Flag, Beltway Poetry Quarterly
Ivan Weiss reviews "Gagarin Street"
by Piotr Gwiazda, Jacket #31
Tuesday, June 16, 2009
like wind loves a window
"'the meaning of the protest is unknown but I long to join in'"
A review of Andrea Baker's like wind loves a window (Slope Editions, 2005)
by Jake Kennedy, Moria
Andrea Baker/Kate Greenstreet:
How has your first book changed your life?
Andrea Baker:
At the Seaport Restaurant, Drunken Boat #6
A review of Andrea Baker's like wind loves a window (Slope Editions, 2005)
by Jake Kennedy, Moria
Andrea Baker/Kate Greenstreet:
How has your first book changed your life?
Andrea Baker:
At the Seaport Restaurant, Drunken Boat #6
Sunday, June 14, 2009
Henry Gould (2)
Henry Gould:
Poem from "July", Jacket Magazine #9
#3: The Old Swingset, Famous Reporter #33
IN RI: Part Two (excerpts), Negations
Poem from "July", Jacket Magazine #9
#3: The Old Swingset, Famous Reporter #33
IN RI: Part Two (excerpts), Negations
Saturday, June 13, 2009
Notes From The Lake
Brandon Shimoda:
Two Poems, The Adirondack Review
Three Poems, coconut #3
Frank Lloyd Wrigth, TYPO #8
What It Would Have Been Like, Wyoming,
No Tell Motel
Two Poems, The Adirondack Review
Three Poems, coconut #3
Frank Lloyd Wrigth, TYPO #8
What It Would Have Been Like, Wyoming,
No Tell Motel
Friday, June 12, 2009
Thursday, June 11, 2009
Wednesday, June 10, 2009
Tuesday, June 09, 2009
A Kingdom of Allusion, Pastiche and Revelation
Anna Kaluza:
A Kingdom of Allusion, Pastiche
and Revelation, Book Institute/Poland
A Kingdom of Allusion, Pastiche
and Revelation, Book Institute/Poland
A poetics course
Before WRITING
WRITING
& AFTER WRITING
A poetics course w/
David Meltzer &
Neeli Cherkovski
July 21st through august 25th
6 consecutive Tuesday nights
7:00 – 9:30 pm
Presented by the
Bird & beckett
Cultural legacy project
653 chenery st., SF, ca 94131
www.birdbeckett.com
415.586.3733
$100 for All 6 sessions
in advance, or
$20 per session, on a
space available basis
We will talk about origins -- When
did poetry begin? Why do we
choose the poem as a primary
means of expression? What does it
mean to take on the identity of
"Poet?" These and other crucial
questions become the ground for
talking about the life of a poet over
time, and the relationship of poetry
to art and music. Haiku, Whitman
and Dickinson, modernists such as
W.C. Williams and H.D. -- along with
the poetry of today, will lead us to
look on the role of a poet in the
larger society.
WRITING
& AFTER WRITING
A poetics course w/
David Meltzer &
Neeli Cherkovski
July 21st through august 25th
6 consecutive Tuesday nights
7:00 – 9:30 pm
Presented by the
Bird & beckett
Cultural legacy project
653 chenery st., SF, ca 94131
www.birdbeckett.com
415.586.3733
$100 for All 6 sessions
in advance, or
$20 per session, on a
space available basis
We will talk about origins -- When
did poetry begin? Why do we
choose the poem as a primary
means of expression? What does it
mean to take on the identity of
"Poet?" These and other crucial
questions become the ground for
talking about the life of a poet over
time, and the relationship of poetry
to art and music. Haiku, Whitman
and Dickinson, modernists such as
W.C. Williams and H.D. -- along with
the poetry of today, will lead us to
look on the role of a poet in the
larger society.
Monday, June 08, 2009
Sunday, June 07, 2009
Saturday, June 06, 2009
Nico Vassilakis
Nico Vassilakis:
PROTRACTED TYPE
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
PROTRACTED TYPE
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
Paul A. Green
Paul A. Green:
QBSAUL HYPERTEXTS - Paul A. Green's Home Page
&
Radio QBSaul - Welcome to Radio QBSaul, podcasting,
audio theatre, poetry, music and sound by Paul A Green
and guests
&
Radio QBSaul - Welcome to Radio QBSaul, podcasting,
audio theatre, poetry, music and sound by Paul A Green
and guests
Friday, June 05, 2009
Thursday, June 04, 2009
Monday, June 01, 2009
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