Sackner Archive: Cloth Wall Hanging by Isidore Isou
Photographed in Miami in 2014. With thanks to Ruth and Marvin Sackner.
Archive for
Sep 10
Brochure from the StAnza Festival, March 2007
Detail from the StAnza programme in March 2007 where I gave a “Meet the Artist” session.
Stroh’s Vowel Sounder
Photograph taken at the Whipple Museum of the History of Science in Cambridge.
Automatic Art: Susan Tebby
Susan Tebby, Development of Lattices, from the Interchange Series MS 142 Sheet No.IV, 1981-82, giclée print on archival paper, 80, x 60, Edition of 15.
Photograph taken at the Automatic Art: human and machine processes that make art show at GV Art in September 2014.
Automatic Art: Steve Sproates
Steve Sproates, untitled, 2007, card, Perspex and wood, 30 x 30 x 10.
Photograph taken at the Automatic Art: human and machine processes that make art show at GV Art in September 2014.
Automatic Art: Sean Clark
Sean Clark, System 1, 2014, monitor and software.
Photographs taken at the Automatic Art: human and machine processes that make art show at GV Art in September 2014.
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PoetryFilm Equinox: VENUE CHANGE
Due to high demand for tickets, PoetryFilm Equinox will now take place at Framestore (19-23 Wells Street), not at the BFI Screening Room. Framestore is equidistant between Oxford Circus and Tottenham Court Road tube stations.
BFI Screening Room
FRAMESTORE
19-23 Wells Street
W1T 3PQ
Postcard from LUX’s Margaret Tait “Subjects and Sequences” tour in 2004
The event featured a selection of Margaret Tait’s films including Three Portrait Sketches, A Portrait of Ga, Aerial, Hugh MacDiarmid A Portrait, Colour Poems, and Where I am Is Here.
Celebratory Swedish Stamps
This is one of my favourite envelopes received. It is from Sweden and features four stamps of the important Swedish photographers Sune Jonsson (a documentary photographer and writer), Gunnar Smoliansky (a photographer of the understated), and Denise Grunstein (an ethereal portrait photographer) positioned jauntily.
“Construct a poem as if the words were three-dimensional objects to be handled in space. Print them on large cards or bricks if necessary.” – Writing Experiments by Bernadette Mayer
Bernadette Mayer’s Writing Experiments
* Invent a new form.
* Make a pattern of repetitions.
* Do experiments with sensory memory: record all sense images that remain from breakfast, study which senses engage you, escape you.
* Meditate on a word, sound or list of ideas before beginning to write.
* Write what cannot be written; for example, compose an index.
* The possibilities of synesthesia in relation to language and words: the word and the letter as sensations, colors evoked by letters, sensations caused by the sound of a word as apart from its meaning, etc. And the effect of this phenomenon on you; for example, write in the water, on a moving vehicle.
* Eliminate material systematically from a piece of your own writing until it is “ultimately” reduced, or, read or write it backwards, line by line or word by word. Read a novel backwards.
* Attempt tape recorder work, that is, recording without a text, perhaps at specific times.
* Get someone to write for you, pretending they are you.
* Attempt to speak for a day only in questions; write only in questions.
* Exercises in style: Write twenty-five or more different versions of one event.
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“The cinema offers a number of possible pleasures. One is scopophilia. There are circumstances in which looking itself is a source of pleasure, just as, in the reverse formation, there is pleasure in being looked at. ” – Laura Mulvey
Quotation taken from Laura Mulvey’s essay Visual Pleasure and Narrative Cinema (II. Pleasure in Looking/Fascination with the Human Form).
Sackner Archive: “A Humument” by Tom Phillips
A Human Document. A Hum(an) (Doc)ument. A Humument.
With thanks to Ruth and Marvin Sackner.
Kinetic Poetry
Moving Words is an exhibit hosted at Illuminations Gallery, the digital-visual exhibition space of the School of English, Media and Theatre Studies at the National University of Ireland in Maynooth, Ireland. The exhibit, curated by Dene Grigar, explores 30 years of net-based kinetic poetry and prose, presenting various artistic approaches and methods of expression, from cinematic animated text displayed originally on a computer screen to highly interactive textual spaces meant for mobile devices. Click here to go to the Moving Words website.
The Paradox of Future-Anteriority
“A postmodern artist or writer is in the position of a philosopher: the text he writes, the work he produces are not in principle governed by pre-established rules, and they cannot be judged according to a determining judgement, by applying familiar categories to the text or to the work. Those rules and categories are what the work of art itself is looking for.
The artist and the writer are working without rules in order to formulate the rules of what will have been done. Hence the fact that work and text have the character of an event; hence also, they always come too late for their author, or, what amounts to the same thing, their being put into work, their realisation (mise en oeuvre) always begins too soon. Post modern would have to be understood according to the paradox of the future (post) anterior (modo).”
Jean-Francois Lyotard, The Postmodern Condition: A Report on Knowledge
PoetryFilm Equinox: more tickets will be released soon
Please sign up to the Waiting List on Eventbrite as more tickets will be released soon.
Knitted Mathematical Models – Alexander Crum Brown, 1885
Photograph taken at the Whipple Museum of the History of Science in Cambridge.
“Post Poem Post Card Art” by Zata Kitowski, 2003
Here is a selection of postcards received from my Post Poem Post Card Art project in 2003.
The hand-made postcards were numbered and distributed around London with a stamp affixed.
PoetryFilm 
