Moe Brooker « POETICKS-

Moe Brooker « POETICKS

Archive for the ‘Moe Brooker’ Category

Entry 1110 — Commercial Visiotextual Art

Tuesday, June 4th, 2013

One of my very lazy entries, just two steals from ARTnews.

This one is an example of what many Spidertangle artists would call “asemic poetry,” but which, unlike just about everything with that tag, gets into New York galleries or the equivalent. Why? It certainly is no better than much of the pieces shown at Spidertangle, although I do like it–the colors and shapes much more than the scribbling. Is it only because made by certified painters rather than people coming out of, or too associated with, poets. For one thing, artists like Brooker never think of their work as poetry of any kind.

A related example that I don’t at all like. In the spirit of Jenny Holzer. Yeah, makes yuh think but who in the world would hand it on their walls? On the other hand, like the Weatherly Dixie Cups, these bookspines could work as elements of my long divisions. That, needless to say, would complicate them beyond all possibility of being written up in ARTnews.

Orbitz.com Airfare

Posted in Miscellaneous Thoughts, Moe Brooker, Nina Katcadourian, Textual Designage, Visimagery, Visual Poetry Specimen | No Comments »

Carlyle Baker « POETICKS

Archive for the ‘Carlyle Baker’ Category

Entry 1019 — Something from a Year Ago

Tuesday, February 19th, 2013

I’m in the process of going through previous blogs to figure out what I managed to accomplish last year, if anything–strike that: I know I did accomplish a few things. Anyway, I found this at the first entry I dipped into (which was posted 11 December 2011):

I copied the whole page of the anthology it’s on, hence the text below it. As soon as I saw it again, I liked it as well as I liked it the first time I saw it. Here’s what I said about it in my other entry: “I have a lot of trouble saying why I like this–extremely like this. I do know that I am automatically attracted to anything with the word, “ur,” in it. Beginnings, origins, the number one. The work seems to me simultaneously some sort of alchemical diagram, a map of a section of an archaeological dig, a frame from a film of a dream, a “careworn and coffee-stained map” of a lost country (as bleed editor John Moore Williams muses in the text accompanying the full set of four pieces this one is the first of), maybe even a piece of square currency from some mystical secret nation . . . Baker says of the set that “most of these pieces begin hand-drawn in ink, pencil crayon, watercolor, etc., and later are altered in a paint program”–much as the graphics in my work are. My only gripe: he apparently doesn’t title his works–if he does, the titles have been omitted in the anthology I found it in.”

Do I have anything to add? A little. One is the importance visually and conceptually of the extremely un-organic elements: the rectilinear border, the three black symbols (two circles and a square, and black), the word, “ur” and the x. The lines of dashes, too. In short, a layer of conceptuality over a layer of Nature. What would formerly be called a marriage of the perceived and the understood if “marriage” still meant what it used to. So I’ll call it a wonderful dichotimfusion.

Amusing that I, the generally exclusive taxonomist, want to call it a visual poem (because of the word, “ur”) but its maker, Carlyle Baker, prefers the word, “graphism” for it.

home theater systems

Posted in Carlyle Baker, Visual Poetry Specimen | No Comments »

Entry 1009 — One More from Do Not Write

Saturday, February 9th, 2013

This one is by Carlyle Baker:

I find this image fascinating. It’s not a poem, for me, but–for one thing–a visualization of a mind’s attempt to find an answer to some unknown but worthy question. One of the mind’s tactics is a doubling back over what it is diagramming, stolidly diagramming. It also employs a white abstract map it briefly scribbles notes toward some sort of understanding that fails to emerge–but it does pin down the location of the unknown involved (the X). I also read in it (less compellingly) the narrative I read in almost all asemic works, the struggle of language to emerge, in this case from thick-lined networks forming layers away from what the language is struggling to speak of, with an abstract outline of what it apparently must include above it. Or the map of a big city, or a close up of a side of such a city . . .

Bayonne Payday Loans

Posted in Carlyle Baker, Textual Designage | No Comments »

Entry 600 — Another by Carlyle Baker

Wednesday, December 21st, 2011

I got it into my head that I’d done my entry for today yesterday and it had automatically been posted this morning. Now, at 7 P.M., I’ve discovered I was wrong. So I’ve grabbed another of the works by Carlyle Baker in thebleed.01 to take care of the day’s entry.

It seems to me a visimage with a caption embedded in it, not a visual poem. But I like it a great deal. I versus some indefinite something . . . Intimations of so much more. Significantly, the I is drawn, not mechanically printed, and could be a narrow door. Ancient countries of the Near East seem strongly implied, to me. Are we where a sense of self originated? Where I split off from a? I think that happened much earlier, but who knows.

Diary Entry

Tuesday, 21 December 2011, Noon. A blog entry taken care of–after another round of tennis. And, hey, a mile “run.” I put “run” in quotes because it took 11 minutes and 13 seconds, so was hardly a genuine run. But it was right after three sets of doubles and a bike ride home of over a mile. Later note: well, I read some more in the two long books I’m to review, and knocked out reviews of the three other books on my list. Didn’t get anything else done–other than writing and posting another blog entry about my unpopular belief that words should mean something.

Brother HL-5250DNT

Posted in Carlyle Baker, Visimagery | No Comments »

Entry 591 — A Work by Carlyle Baker

Monday, December 12th, 2011

I don’t know much about Carlyle Baker–only that I see his work every 0nce in a while and always like it. The piece by Baker below, untitled, is from the bleed 0.1.

I have a lot of trouble saying why I like this–extremely like this. I do know that I am automatically attracted to anything with the word, “ur,” in it. Beginnings, origins, the number one. The work seems to me simultaneously some sort of alchemical diagram, a map of a section of an archaeological dig, a frame from a film of a dream, a “careworn and coffee-stained map” of a lost country (as bleed editor John Moore Williams muses in the text accompanying the full set of four pieces this one is the first of), maybe even a piece of square currency from some mystical secret nation . . . Baker says of the set that “most of these pieces begin hand-drawn in ink, pencil crayon, watercolor, etc., and later are altered in a paint program”–much as the graphics in my work are. My only gripe: he apparently doesn’t title his works–if he does, the titles have been omitted here.

* * *

Sunday, 11 December 2011, 5 P.M. I played around with an image at Paint Shop for less than half-an-hour, and posted the result as my blog entry for the day. Tennis in the morning, dinner with Linda in the late afternoon, futzing around in between. Almost nothing accomplished.

Buy video games

Posted in Carlyle Baker, Textual Designage | No Comments »

Entry 61 — 2 Poems by Geof Huth « POETICKS

Entry 61 — 2 Poems by Geof Huth

They’re from #721:

This entry was posted on Friday, January 1st, 2010 at 12:00 AM and is filed under Geof Huth, Visual Poetry Specimen. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.

Entry 1026 — “The Last Ellipsis” « POETICKS

Entry 1026 — “The Last Ellipsis”

I’ve been putting together another of my columns for Small Press Review. Half of it is devoted to Marton Koppany’s Addenda, from which I took the piece below, “The Last Ellipsis.

I didn’t have room to be brilliant about it in my column, so brought it here. I won’t tell you what word it contains three writings of, just that the cursive does spell a word, one whose obviousness is a main reason the work is as funny as it is. It’s a tricky puzzle, but–solved–tells you what’s what almost stupidly. It shows you what’s what, too, in the process doing quite a bit more than what it tells you it’s doing, if you think–and feel–a proper way into its tile, for look at the ellipsis’s final sad struggle; reflect on its inability to state itself in some formal font. Beyond that, though, consider how barely it expresses itself–not showing itself as it is, but only weakly describing itself with abstract words. Alone, cut off from whatever it may have helping die into nothingness. BUT NOT GIVING UP! LEAVING PROOF THAT IT WAS HERE!

(Note, a primary reason I like Marton’s poems as much as I do is because of how much they make one think–but only after, and along with, how effectively they make you feel, both sensually and emotionally.)

Premium Sports Tix

This entry was posted on Tuesday, February 26th, 2013 at 12:00 AM and is filed under Marton Koppany, Visual Poetry Specimen. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.

Entry 34 — Yesterday’s Mathemaku Again, and Another « POETICKS

Entry 34 — Yesterday’s Mathemaku Again, and Another

Here’s the latest version of what I think I’m calling “Frame 17″ of The Long Division of Poetry:

17Aug07D-light

I didn’t like the background blue as dark as it showed here, so I lightened it. For some reason, that made a lot of difference to me. I also changed the quotient of the mathemaku below, another variation on the lead frame of The Long Division of Poetry that I composed in 2007 and have only touched up slightly since, mostly to increase its resolution. I feel it’s about as good as I’m capable of getting as a mathematical poet–although I do feel I’ve done a few mathemaku that are better than it.

20Nov09E

The divisor is hard to read on-site, I don’t know why. The image is much darker than it is on the screen of the computer where I do my Paint Shop work, even though I tried to lighten it. Oh, it’s tiff on my computer, jpeg here, which may explain it. Anyway, the divisor reads, “a memory of/ Harbor View, June 27, 1952″

Note: for those of you new to Grumman Studies, “manywhere-at-once,” which is usually capitalized, is where (according to my poetics) metaphors and other figures of speech send one. Two or more places in one’s brain at the same time. So this poem attempts to express the value of equaphoration–my term for any poetic device that in some way equates one thing with another, even irony, which equates the truth with its opposite.

This entry was posted on Saturday, December 5th, 2009 at 1:01 PM and is filed under Bob Grumman, Mathematical Poetry Specimen, visual poetry, Visual Poetry Specimen. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.

J. Michael Mollohan « POETICKS

Archive for the ‘J. Michael Mollohan’ Category

Entry 27 — Two By J. Michael Mollohan

Saturday, November 28th, 2009

dontandsubtlety

Just the two pieces above from #657 today–’cause I’m tired and my back and right leg ache from having played tennis this morning (horrid-badly). I have sciatica and wrong thought I might be over it. I’m not.

Posted in J. Michael Mollohan, visual poetry, Visual Poetry Specimen | No Comments »

Anselm Berrigan « POETICKS

Archive for the ‘Anselm Berrigan’ Category

Entry 1577 — Poems from Bomb

Sunday, September 21st, 2014

Guess who is too worn out from a little work on the revision of his scifi novel to do a real entry today? So I leafed through the issue of Bomb I plan to write a Small Press Review column of mine and found an interesting set of four poems. The text of each was a single unpunctuated line of words in lower-case letters that went entirely around the perimeter of its page just once. To get a complete poem, I had to scan what’s above, pressing down to get the inner lines. When I saw that it was probably as interesting as the originals, I decided to save work, an’ be a creative artist myself, by leaving it as it was.

It which began, by the way, “the concept must be graspable at the outset of verily . . .” than goes langpoic. Interesting. I commend Bomb for having it. The set is called, “Poems.” The Upper-Case P surprised. Author: Anselm Berrigan. A New Yorker (like Richard Kostelanetz, a leading pioneer of innovative text-placement like Berrigan’s), it would seem, since he is poetry editor of a magazine called The Brooklyn Rail.

I was a big fan of Bomb for a while, and continue to consider it a superior arts publication. But I was annoyed to find out recently that it does not accept unsolicited submissions. Which makes it unsurprising that it is published in Brooklyn.

I had planned a really soopeariur essay for today on the involvement of urceptual persona in poems and other artworks. I had a heap of good ideas for it. I’ll be busy with household work tomorrow, so it may be awhile before I get to it. I hope all my ideas for it haven’t deserted me by then.
.

Posted in Anselm Berrigan, Visual Poetry Specimen | No Comments »

Enter 391 — Visual Poem from March 2008 « POETICKS

Enter 391 — Visual Poem from March 2008

To get this entry out of the way, this, which is from the 11 March 2008 entry to my previous blog:

This entry was posted on Sunday, February 27th, 2011 at 11:49 AM and is filed under Bob Grumman, Visual Poetry Specimen. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.

Entry 402 — Three Ellipses « POETICKS

Entry 402 — Three Ellipses

These are all from my previous blog. The top one is “Ellipsis No. 10,” by Marton Koppany. The second is my variation on that, and the third a second variation on it by me. There here partly because, again, I could not come up with anything else to post, and partly because today I finished buying bus tickets to and from Jacksonville, Florida, where I’ll be visiting with Marton Saturday, 2 April. Anyone who’ll also be there then, let me know. Especially if you have a bed I can sleep in on Friday!

This entry was posted on Thursday, March 10th, 2011 at 12:00 AM and is filed under Bob Grumman, Marton Koppany, Visual Poetry Specimen. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.

One Response to “Entry 402 — Three Ellipses”

marton koppany says:

11 March 11 at 1:53 AM

Thanks for posting these, Bob!

Hopefully see you soon,
Marton

Entry 1092 — More Cursive Writing by Irving Weiss « POETICKS

Entry 1092 — More Cursive Writing by Irving Weiss

I was going to discuss the minimalist works of the previous entry in this one but had so much trouble simply setting the entry up due to my deranged computer and/or my blogsite’s programming, that I couldn’t continue after losing half my commentary, who knows why. In desperation, I scanned another piece that was in Irving Weiss’s Number Poems (The Runaway Spoon Press, 1997) and managed to post it here:

Nifty visiopoetic portrait of a lady, I think. I haven’t tried super-hard to read the writing but suspect it consists of various scribbled female names–one is Echo. Wait, at the top are Scylla and Daphne. I now suspect these are all nymphs or the like who suffered badly at the hands of various gods and goddesses–hence, if full life only a moment. And en masse here a barely legible flurry representative of all the feminine magic and mystery of the old religions now long-gone.

Brookstone Store

This entry was posted on Friday, May 3rd, 2013 at 12:00 AM and is filed under Irving Weiss, Visual Poetry Specimen. You can follow any responses to this entry through the RSS 2.0 feed. Both comments and pings are currently closed.

Comments are closed.

POETICKS

Category: Visual Poetry Specimen