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a clipblog collecting blogged thoughts on visual poetry

Sunday, May 27, 2007


via Jenny Sampirisi's Other Clutter:

Nico Vassilakis lives in Seattle, home of the Space Needle. Your logic or
logic itself unsettles. Straightened lines devour folding unfolding. The
pulled stone shows no elastic. No fever in the cells. An extended surface of
accidental and haphazard cursive.


E-Poetry 2007

via networked_performance:

The first event is epoetry. Everybody (or almost) that counts in digital and new media poetry was there, from all over the world : the pioneers, the big names, the about-to-become-big-names, the new emerging generation. Too many names to list !


Much of the work performed over the three live evening events remained rooted within the performance poetry tradition. Flash animations illustrating word play rarely manages to add anything significant to the oeuvre and certainly such works do not propose any significant shift in how a digital poetics practice might evolve. Many works presented thus failed to transcend being illustrated poems. To my mind there seems a similarity here to the dead hand that Powerpoint passes over academic presentations, with Flash functioning to banalise what might be potentially interesting textual projects and performances.

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The Fruit is Actually the Durian

from Scott Rettberg via Grand Text Auto:

First of all, let me point in brief to networked_performance for Simon Biggs’ very good report on the E-poetry 2007 Festival in Paris.... Rather than a more formal report, I offer you this cellphone video extravaganza — short clips of 30 seconds to a minute of many readings from the festival. Forgive the quality — it was my phone used in dark crowded rooms filled with poets drinking in the poetry, after all.

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Monday, May 21, 2007


via Ron Silliman's blog:

A second Saroyan type that comes closer to Grenier entails poems that utilize the graphic elements of language – the poem at the top of this note is a famous instance of this. As it does there, this kind of poem works when there is some intelligible connection – it doesn’t have to be articulatable – between what is going on the page and denotative & connotative dimensions of the word at hand. Thus


strikes me as effective precisely for the way it calls up the double-image element involved in stereoscopic vision, why humans see in 3D, whereas


just sits there on the page doing not much of anything.


via Nathan Austin's This Cruellest Month:

But exclusive attention to these poems' graphical components ignores — as Silliman does — their sonic dimensions. I'm not interested in disagreeing with Silliman, of course; his attention is focused on the visual by the parameters of his essay, and particularly by his comparison of Saroyan with Grenier. Rather, and nevertheless, I want to look at other ways of reading the poems to investigate them differently.

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Scatterlogical Poems

via Jenny Sampirisi's Other Clutter:

Jesse Patrick Ferguson is the author of four chapbooks. His visual poetry has appeared in dANDelion, GRIMM Magazine, various Peter F. Yachtclub publications (above/ground), in his chapbook catch a bird (above/ground, 2006) and in QWERTY (where he is now on the editorial board). He plays several musical instruments and aims to keep it that way.

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