tag:blogger.com,1999:blog-64025534576270928752024-03-12T17:10:11.587-07:00BIBLIOTHECA INVISIBILISConceptualizations of the InvisibleUnknownnoreply@blogger.comBlogger52125tag:blogger.com,1999:blog-6402553457627092875.post-72310572945699215432021-07-23T09:52:00.001-07:002021-07-23T10:31:42.731-07:00CATALOG<div style="text-align: center;">
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<span face=""arial" , "helvetica" , sans-serif">The Library Catalog will be updated over time as more entries are posted on the blog. Please see the <b><a href="http://libraryofinvisible.blogspot.com/2014/03/call-for-participation.html">Call for Participation</a></b> if you'd like to participate with your works or recommend other works that conceptualize the Invisible. [Please note new email for contact: GalateaTEN@aol.com]</span></div>
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<i><span face=""arial" , "helvetica" , sans-serif"><br /></span></i><i><span face=""arial" , "helvetica" , sans-serif">Catalog is Listed in alphabetical order by Author. Click on title for more information. In two categories: BOOKS and OTHER MEDIA.</span></i><br />
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: large;"><b>BOOKS</b></span><br />
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<span face=""arial" , "helvetica" , sans-serif"><u>I. Books With Invisible Text & Other Invisibles:</u></span><br />
<span face=""arial" , "helvetica" , sans-serif"><b><br /></b></span>
<span face=""arial" , "helvetica" , sans-serif"><b>Anonymous [re. Michael Gove]</b></span><br />
<span face=""arial" , "helvetica" , sans-serif"><i><a href="http://libraryofinvisible.blogspot.com/2014/03/anonymous-michael-gove.html">Everything I Know About Teaching by Michael Gove</a></i></span><br />
<span style="background-color: white;"><span face=""arial" , "helvetica" , sans-serif">CreateSpace Independent Publishing Platform (United Kingdom, 2013)</span></span><br />
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<span face=""arial" , "helvetica" , sans-serif"><b><br /></b></span>
<span face=""arial" , "helvetica" , sans-serif"><b>Bahl, Aditya</b></span><br />
<span face=""arial" , "helvetica" , sans-serif"><a href="http://libraryofinvisible.blogspot.com/2014/05/aditya-bahl.html"><i>ARE poems</i> </a></span><br />
<span face=""arial" , "helvetica" , sans-serif">(in manuscript form, Himachal Pradesh, India, 2014)</span><br />
<span face=""arial" , "helvetica" , sans-serif"><b><br /></b></span>
<span face=""arial" , "helvetica" , sans-serif"><b><br /></b></span>
<span face=""arial" , "helvetica" , sans-serif"><b>Barwin, Gary</b></span><br />
<span face=""arial" , "helvetica" , sans-serif"><a href="http://libraryofinvisible.blogspot.com/2014/03/gary-barwin.html"> </a> <span style="font-size: x-small;">[Title is Blank Space]</span></span><br />
<span face=""arial" , "helvetica" , sans-serif">(serif of nottingham editions, Hamilton, Ontario, 2014)</span><br />
<span face=""arial" , "helvetica" , sans-serif"><b><br /></b></span>
<span face=""arial" , "helvetica" , sans-serif"><b><br />Beckett, Tom</b></span><br />
<span face=""arial" , "helvetica" , sans-serif"><a href="http://libraryofinvisible.blogspot.com/2014/03/tom-beckett.html"><i>Blank Suite</i> </a></span><br />
<span face=""arial" , "helvetica" , sans-serif">(Minitage Press, Kent, OH / St. Helena, CA, 2014)</span><br />
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<span face=""arial" , "helvetica" , sans-serif"><b>Betts, Gregory</b></span><br />
<span face=""arial" , "helvetica" , sans-serif"><i><a href="http://libraryofinvisible.blogspot.com/2014/03/gregory-betts.html">THE OUGHT BOOK</a></i></span><br />
<span face=""arial" , "helvetica" , sans-serif">(Ontario, 2013)</span><br />
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<span face=""arial" , "helvetica" , sans-serif"><b>Blanco, Manuel</b></span><br />
<span face=""arial" , "helvetica" , sans-serif"><i><a href="http://libraryofinvisible.blogspot.com/2015/06/manuel-blanco.html">El Indio</a></i></span><br />
<span face=""arial" , "helvetica" , sans-serif">(late 19th century)<br /><br /><br />
<b>Bloomberg-Rissman, John</b></span><br />
<a href="http://libraryofinvisible.blogspot.com/2014/03/john-bloomberg-rissman.html">Hiroshi Sugimoto: Theaters:Details (Volume 1)</a><br />
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<span face=""arial" , "helvetica" , sans-serif">(Laughing / Ough / Cube Publications, </span><span face=""arial" , "helvetica" , sans-serif">Claremont, CA, </span><span face=""arial" , "helvetica" , sans-serif">2014)</span></div>
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<span face=""arial" , "helvetica" , sans-serif"><b>Conley, Craig</b></span><br />
<i style="background-color: white; line-height: 1.3;"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><a href="http://libraryofinvisible.blogspot.com/2014/03/craig-conley.html">The Carte Blanche Atlas: 75 Uncharted Territories for Off-the-Beaten-Pathfinders</a></span></i><br />
<span face=""arial" , "helvetica" , sans-serif">(CreateSpace Independent Publishing Platform, 2007)</span><br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif"><br /><b>Danho, Julie</b></span><br />
<span face=""arial" , "helvetica" , sans-serif"><a href="http://libraryofinvisible.blogspot.com/2014/04/julie-danho.html">"Erased de Kooning"</a></span><br />
<span face=""arial" , "helvetica" , sans-serif">in <i>Six Portraits</i></span><br />
<span face=""arial" , "helvetica" , sans-serif" style="background-color: white; line-height: 18px;">(</span><span face=""arial" , "helvetica" , sans-serif">Slapering Hol Press at The Hudson Valley Writers’ Center</span><span face=""arial" , "helvetica" , sans-serif" style="background-color: white; line-height: 18px;">, Sleepy Hollow, N.Y., 2014)</span><span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif"><br /><br /><b>Dinnerstein, Victor</b></span><br />
<span face=""arial" , "helvetica" , sans-serif"><i><a href="http://libraryofinvisible.blogspot.com/2014/04/victor-dinnerstein.html">The Wit and Wisdom of Spiro T. Agnew</a></i></span><br />
<span face=""arial" , "helvetica" , sans-serif">(Price Stern Sloan, Los Angeles, 1968)</span><br />
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<span face=""arial" , "helvetica" , sans-serif"><b>Elia, Miriam</b></span><br />
<span face=""arial" , "helvetica" , sans-serif"><i><a href="http://libraryofinvisible.blogspot.com/2014/03/miriam-elia.html">We Go To The Gallery</a></i></span><br />
<span face=""arial" , "helvetica" , sans-serif">(Self-Published</span><span face=""arial" , "helvetica" , sans-serif"> </span><span face=""arial" , "helvetica" , sans-serif">/ a 'Harlequin Ladybird book,' London, 2014)</span><br />
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<span face=""arial" , "helvetica" , sans-serif"><b>Goldsmith, Oliver</b></span><br />
<span face=""arial" , "helvetica" , sans-serif"><i><a href="http://libraryofinvisible.blogspot.com/2014/07/oliver-goldsmith.html">Essays</a></i> </span><br />
<span face=""arial" , "helvetica" , sans-serif">(Oxford University, 1756)</span><br />
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<span face=""arial" , "helvetica" , sans-serif"><b>Kostelanetz, Richard</b></span><br />
<span face=""arial" , "helvetica" , sans-serif"><i><a href="http://libraryofinvisible.blogspot.com/2014/04/richard-kostelanetz.html">Conceptual Fictions</a> </i></span><br />
<span face=""arial" , "helvetica" , sans-serif">(Archae Editions, Ridgewood-Soho, N.Y., 2012)</span><br />
<br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span><span face=""arial" , "helvetica" , sans-serif"><b>Kostelanetz, Richard</b></span><br />
<span face=""arial" , "helvetica" , sans-serif"><i><a href="http://libraryofinvisible.blogspot.com/2014/04/richard-kostelanetz-2.html">Tabula Rasa: A Novel</a> </i></span><br />
<span face=""arial" , "helvetica" , sans-serif">(Archae Editions, Ridgewood-Soho, N.Y., 1978)</span><br />
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<br />
<span face=""arial" , "helvetica" , sans-serif"><b>Kostelanetz, Richard</b></span><br />
<span face=""arial" , "helvetica" , sans-serif"><i><a href="http://libraryofinvisible.blogspot.com/2014/04/richard-kostelanetz-3.html">Inexistences: Stories</a> </i></span><br />
<span face=""arial" , "helvetica" , sans-serif">(Archae Editions, Ridgewood-Soho, N.Y., 1978)</span><br />
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<b style="font-family: Arial, Helvetica, sans-serif;">Kostelanetz, Richard</b><br />
<i style="font-family: Arial, Helvetica, sans-serif;"><a href="http://libraryofinvisible.blogspot.com/2014/04/richard-kostelanetz-5.html">Absence Captioned</a></i><br />
<span face=""arial" , "helvetica" , sans-serif">(Archae Editions, Ridgewood-Soho, N.Y., 2014)</span><br />
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<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif"><b>Lacuesta, Angelo R.</b></span><br />
<span face=""arial" , "helvetica" , sans-serif"><a href="http://libraryofinvisible.blogspot.com/2014/03/angelo-r-lacuesta.html">"Pastoral"</a></span><br />
<span face=""arial" , "helvetica" , sans-serif">in <i>VERSES TYPHOON YOLANDA: A Storm of Filipino Poets</i>, Ed. Eileen R. Tabios</span><br />
<span face=""arial" , "helvetica" , sans-serif">(Meritage Press, San Francisco & St. Helena, CA, 2014)</span><br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif"><br /><b>Lemonodo</b></span><br />
<span face=""arial" , "helvetica" , sans-serif"><i><a href="http://libraryofinvisible.blogspot.com/2014/03/lemonodo.html">Here Goes Nothing</a></i></span><br />
<span face=""arial" , "helvetica" , sans-serif">(Creative Commons, 2014)</span><br />
<b style="font-family: Arial, Helvetica, sans-serif;"><br /></b>
<b style="font-family: Arial, Helvetica, sans-serif;"><br /></b>
<b style="font-family: Arial, Helvetica, sans-serif;">Lemonodo</b><br />
<span face=""arial" , "helvetica" , sans-serif"><a href="http://libraryofinvisible.blogspot.com/2014/04/lemonodo-2.html">Erased Spaced</a> </span><br />
<span face=""arial" , "helvetica" , sans-serif">(Creative Commons, 2014)</span><br />
<span face=""arial" , "helvetica" , sans-serif"><span style="font-family: "times";"><br /></span></span>
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif"><b>Nichol, bp</b></span><br />
<span face=""arial" , "helvetica" , sans-serif"><i><a href="http://libraryofinvisible.blogspot.com/2014/04/bp-nichol.html">A Condensed History of Nothing</a></i></span><br />
<span face=""arial" , "helvetica" , sans-serif">(Ganglia, Toronto, 1970)</span><br />
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<span face=""arial" , "helvetica" , sans-serif"><span style="font-family: "times";"><br /></span></span>
<b style="font-family: Arial, Helvetica, sans-serif;">P., Michael</b><br />
<span face=""arial" , "helvetica" , sans-serif"><i><a href="http://libraryofinvisible.blogspot.com/2014/03/michael-p.html">SON LOVE ENCYCLOPEDIA</a></i></span><br />
<span face=""arial" , "helvetica" , sans-serif">(1/1 SitWithMoi Edition, St. Helena, CA, 2013)</span><br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif"><br /><b>Prasad, SS</b></span><br />
<span face=""arial" , "helvetica" , sans-serif"><i><a href="http://libraryofinvisible.blogspot.com/2014/04/ss-prasad.html">O Poems</a> </i></span><br />
<span face=""arial" , "helvetica" , sans-serif">(manuscript, Bangalore, India, 2014)</span><br />
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<span face=""arial" , "helvetica" , sans-serif"><b>Sanders, Edward</b></span><br />
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<!--StartFragment--><span face=""arial" , "helvetica" , sans-serif"><i><a href="http://libraryofinvisible.blogspot.com/2014/04/edward-sanders.html">A Variorum Edition of the Entire Extant Works ofThales! The Famous Milesian Poet, Philosopher, Physicist, Astronomer,Mathemetician, Cosmologist, Urstoff-Freak, Absent-Minded Professor & Madman</a></i> </span><br />
<span face=""arial" , "helvetica" , sans-serif">(Fuck You Press, New York, 1964) </span><br />
<!--EndFragment--><span style="font-family: "cambria";"><br /></span>
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif"><b>Saroyan, Aram</b></span><br />
<span face=""arial" , "helvetica" , sans-serif"><a href="http://libraryofinvisible.blogspot.com/2014/04/aram-saroyan.html">"ly"</a> </span><br />
<span face=""arial" , "helvetica" , sans-serif">in <i>COMPLETE MINIMAL POEMS (2nd Edition)</i>, Edited by Aram Saroyan and James Hoff</span><br />
<span face=""arial" , "helvetica" , sans-serif">(Primary Information / Ugly Duckling Presse, Brooklyn, 2014)</span><br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span><span face=""arial" , "helvetica" , sans-serif"><br /></span><span face=""arial" , "helvetica" , sans-serif"><b>Xavier Serrano</b></span><br />
<span face=""arial" , "helvetica" , sans-serif"><i><a href="http://libraryofinvisible.blogspot.com/2014/05/xavier-serrano-2.html">Bartlebits</a></i></span><span face=""arial" , "helvetica" , sans-serif"> </span><span face=""arial" , "helvetica" , sans-serif"><br /></span><br />
<span face=""arial" , "helvetica" , sans-serif"><i>(book-in-progress)</i></span><br />
<span face=""arial" , "helvetica" , sans-serif"><i><br /></i></span>
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif"><b>Slider, Red</b></span><br />
<span face=""arial" , "helvetica" , sans-serif"><a href="http://libraryofinvisible.blogspot.com/2014/03/red-slider.html">"Still Life with Statue"</a></span><br />
<span face=""arial" , "helvetica" , sans-serif">in <i>Portraits</i> (Out-of-the-Loop Press, Sacramento, CA, 2005)</span><br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif"><br />
<b>Smith, Jessica</b></span><br />
<span face=""arial" , "helvetica" , sans-serif"><i><a href="http://libraryofinvisible.blogspot.com/2014/03/jessica-smith.html">Zen</a></i> </span><br />
<span face=""arial" , "helvetica" , sans-serif">(Lulu eBook, 2009)</span><br />
<br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span><b style="font-family: Arial, Helvetica, sans-serif;">Tabios, Eileen R.</b><br />
<span face=""arial" , "helvetica" , sans-serif"><a href="http://libraryofinvisible.blogspot.com/2014/03/eileen-r-tabios-1.html">A BLURB PROJECT: The Secret Lives of Blank Lines</a></span><br />
<span face=""arial" , "helvetica" , sans-serif">in <i>THE SECRET LIVES OF PUNCTUATIONS, VOL. I</i></span><br />
<span face=""arial" , "helvetica" , sans-serif">(xPress(ed), Espoo, Finland, 2006)</span><br />
<br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span><b style="font-family: Arial, Helvetica, sans-serif;">Tabios, Eileen R.</b><br />
<span face=""arial" , "helvetica" , sans-serif"><a href="http://libraryofinvisible.blogspot.com/2014/03/eileen-r-tabios_16.html">"Footnote Poems" </a></span><br />
<span face=""arial" , "helvetica" , sans-serif">in <i>I TAKE THEE, ENGLISH, FOR MY BELOVED</i></span><br />
<span face=""arial" , "helvetica" , sans-serif">(Marsh Hawk Press, New York, 2005)</span><br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<b style="font-family: Arial, Helvetica, sans-serif;">Tabios, Eileen R.</b><br />
<span face=""arial" , "helvetica" , sans-serif"><a href="http://libraryofinvisible.blogspot.com/2014/03/eileen-r-tabios-4.html">THE CHATELAINE'S BLURBED BOOK PROJECT</a></span><br />
<span face=""arial" , "helvetica" , sans-serif">(2005-Present)</span><br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif"><b><br /></b></span>
<span face=""arial" , "helvetica" , sans-serif"><b>Tabios, Eileen R.</b></span><br />
<i><a href="http://libraryofinvisible.blogspot.com/2014/03/eileen-r-tabios.html"><span face=""arial" , "helvetica" , sans-serif">LET'S TALK ABOUT YOU. WHAT DO YOU THINK ABOUT ME?</span></a></i><br />
<span face=""arial" , "helvetica" , sans-serif">(Self-published, 2012. Out of print.)</span><br />
<i><a href="http://libraryofinvisible.blogspot.com/2014/03/eileen-r-tabios.html"><span face=""arial" , "helvetica" , sans-serif">LET'S REALLY TALK ABOUT YOU. WHAT DO YOU REALLY THINK ABOUT ME?</span></a></i><br />
<span face=""arial" , "helvetica" , sans-serif">(Books Expanded, St. Helena, CA, 2014)</span><br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif"><b>Tabios, E.R.</b></span><br />
<span face=""arial" , "helvetica" , sans-serif"><i><a href="http://libraryofinvisible.blogspot.com/2014/03/eileen-r-tabios-aka-er-tabios.html">THE SECRET</a></i></span><br />
<span face=""arial" , "helvetica" , sans-serif">(1/1 SitWithMoi Edition, St. Helena, CA, 2013)</span><div><br /></div><div><br /></div><div><b>Eileen Tabios</b></div><div><i><a href="https://libraryofinvisible.blogspot.com/2021/07/eileen-tabios.html"><span style="color: #2b00fe;">The Silence is Deafening</span></a></i></div><div>(1/1, Eileen'sTinyBooks (Victoria Library), St. Helena, CA, 2021)<br /><span face=""arial" , "helvetica" , sans-serif"><br /><br /></span>
<span face=""arial" , "helvetica" , sans-serif"><b>Elisabeth Tonnard</b></span><br />
<span face=""arial" , "helvetica" , sans-serif"><i><a href="http://libraryofinvisible.blogspot.com/2014/03/elisabeth-tonnard.html">The Invisible Book</a></i> </span><br />
<span face=""arial" , "helvetica" , sans-serif">(Self-published, Leerdam, 2012)</span><br />
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<span face=""arial" , "helvetica" , sans-serif"><br /></span></div>
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<span face=""arial" , "helvetica" , sans-serif"><br /></span></div>
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<b><span face=""arial" , "helvetica" , sans-serif">Valoch, </span><span face=""arial" , "helvetica" , sans-serif">Jíří</span><span face=""arial" , "helvetica" , sans-serif"> </span></b></div>
<div class="MsoNormal">
<span face=""arial" , "helvetica" , sans-serif"><i><a href="http://libraryofinvisible.blogspot.com/2014/04/jiri-valoch.html">Book About Nothing</a></i></span></div>
<div class="MsoNormal">
<span face=""arial" , "helvetica" , sans-serif">(Brno, 1970)</span></div>
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif"><b>Villa, Jose Garcia</b></span><br />
<span face=""arial" , "helvetica" , sans-serif"><a href="http://libraryofinvisible.blogspot.com/2014/03/jose-garcia-villa.html">"The Emperor's New Sonnet"</a></span><br />
<span face=""arial" , "helvetica" , sans-serif">in <i>SELECTED POEMS AND NEW</i></span><br />
<span face=""arial" , "helvetica" , sans-serif">(McDowell, Obolensky, New York, 1942-1958 and Bookmark, Inc., Manila, 1993)</span><br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif"><b>Waber, Dan</b></span><br />
<span face=""arial" , "helvetica" , sans-serif"><i><a href="http://libraryofinvisible.blogspot.com/2014/02/dan-waber.html">Book of I</a></i></span><br />
<span face=""arial" , "helvetica" , sans-serif">(logolalia, Lancaster, PA and Hong Kong, 2013)</span><br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif"><b>Waber, Dan</b></span><br />
<span face=""arial" , "helvetica" , sans-serif"><i><a href="http://libraryofinvisible.blogspot.com/2014/02/dan-waber.html">The U.S. National Debt</a></i></span><br />
<span face=""arial" , "helvetica" , sans-serif">(logolalia, Lancaster, PA and Hong Kong, 2013)</span><br />
<br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif"><u>II. Books About Books With Invisible Text & Other Invisibles:</u></span><br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif"><b>Dworkin, Craig</b></span><br />
<span face=""arial" , "helvetica" , sans-serif"><i><a href="http://libraryofinvisible.blogspot.com/2014/04/craig-dworkin.html">No Medium</a></i> </span><br />
<span face=""arial" , "helvetica" , sans-serif">(The MIT Press, Cambridge, MA, 2013)<br />
<br />
</span><br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif" style="font-size: large;"><b>OTHER MEDIA</b></span><br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif"><b>Anonymous</b></span><br />
<span style="font-family: "arial";"><i><a href="http://libraryofinvisible.blogspot.com/2014/03/anonymous.html">De tribus impostoribus</a>, </i>b</span><span face=""arial" , "helvetica" , sans-serif">ook review of Georges Minois, <i>The Atheist's Bible: The Most Dangerous Book That Never Existed</i> (Lys Ann Weiss, translator). Chicago : University of Chicago Press, 2012 </span><br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span><span face=""arial" , "helvetica" , sans-serif"><b>Cage, John</b></span><br />
<span face=""arial" , "helvetica" , sans-serif"><i><a href="https://www.youtube.com/watch?v=zY7UK-6aaNA"><span style="color: black;">4'33"</span></a>, </i>composition</span><br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span><span face=""arial" , "helvetica" , sans-serif"><b>Catedral, Emmy</b></span><br />
<span face=""arial" , "helvetica" , sans-serif"><a href="http://libraryofinvisible.blogspot.com/2014/03/emmy-catedral.html">"variations of resistance,"</a> a mixed-media installation</span><br />
<b><span face=""arial" , "helvetica" , sans-serif"><br /></span></b>
<span style="background-color: white; line-height: 18px;"><span face=""arial" , "helvetica" , sans-serif"><b>Cégeste, Jacques</b></span></span><br />
<span face=""arial" , "helvetica" , sans-serif"><a href="http://libraryofinvisible.blogspot.com/2014/04/jacques-cegeste.html">Poems in <i>Nudisme</i>,</a> poems</span><br />
<b style="font-family: Arial, Helvetica, sans-serif;"><br /></b><b style="font-family: Arial, Helvetica, sans-serif;">Friedman, Tom</b><br />
<span face=""arial" , "helvetica" , sans-serif"><a href="http://www.independent.co.uk/arts-entertainment/art/news/blank-canvas-london-gallery-unveils-invisible-art-exhibition-7767057.html">"1,000 Hours of Staring,"</a> sculpture</span><br />
<b style="font-family: Arial, Helvetica, sans-serif;"><br /></b><b style="font-family: Arial, Helvetica, sans-serif;">Friedman, Tom</b><br />
<span face=""arial" , "helvetica" , sans-serif"><a href="http://www.independent.co.uk/arts-entertainment/art/news/blank-canvas-london-gallery-unveils-invisible-art-exhibition-7767057.html">"Untitled (A Curse),"</a> space/sculpture</span><br />
<b style="font-family: Arial, Helvetica, sans-serif;"><br /></b>
<b style="font-family: Arial, Helvetica, sans-serif;">Glass, Jesse</b><br />
<span face=""arial" , "helvetica" , sans-serif"><a href="http://libraryofinvisible.blogspot.com/2014/03/jesse-glass.html">My Sculpture</a>, sculpture</span><br />
<b style="font-family: Arial, Helvetica, sans-serif;"><br /></b>
<b style="font-family: Arial, Helvetica, sans-serif;">Goodland, Giles</b><br />
<span face=""arial" , "helvetica" , sans-serif"><a href="http://libraryofinvisible.blogspot.com/2014/03/giles-goodland.html">"Nothing"</a>, a poem</span><br />
<b style="font-family: Arial, Helvetica, sans-serif;"><br /></b>
<b style="font-family: Arial, Helvetica, sans-serif;">Johnson, Halvard</b><br />
<span face=""arial" , "helvetica" , sans-serif"><a href="http://libraryofinvisible.blogspot.com/2014/03/call-for-participation.html?showComment=1395856984788#c7475837244479645268">Comment</a>, a blog comment</span><br />
<span face=""arial" , "helvetica" , sans-serif">(Bibliotheca Invisibilis Blog, 2014)</span><br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif"><b>Koppany, Marton</b></span><br />
<span face=""arial" , "helvetica" , sans-serif"><a href="https://libraryofinvisible.blogspot.com/2019/02/marton-koppany-2.html"><span style="color: blue;">"Self-Portrait as A4" and "Eternity</span>"</a> -- two </span><span face=""arial" , "helvetica" , sans-serif">visual poems</span><br />
<b style="font-family: Arial, Helvetica, sans-serif;"><br /></b>
<b style="font-family: Arial, Helvetica, sans-serif;">Koppany, Marton</b><br />
<div style="font-family: Helvetica;">
<a href="http://libraryofinvisible.blogspot.com/2014/03/marton-koppany.html"><span style="color: blue;"><i>"Ellipsis No. 15" </i>and<i> "A</i></span></a><i><a href="http://libraryofinvisible.blogspot.com/2014/03/marton-koppany.html"><span style="color: blue;">ncient Ellipsis (Fragment)</span>",</a> </i>"Invispo" -- two visual poems </div>
<br />
<span face=""arial" , "helvetica" , sans-serif"><b>Kostelanetz, Richard</b></span><br />
<i style="font-family: Arial, Helvetica, sans-serif;"><a href="http://libraryofinvisible.blogspot.com/2014/04/richard-kostelanetz-4.html">Commissioner of Baseball for the British Isles</a>, </i><span face=""arial" , "helvetica" , sans-serif">a nomination </span><br />
<br />
<span face=""arial" , "helvetica" , sans-serif"><b>Montfort, Nick and Strickland, Stephanie</b></span><br />
<span face=""arial" , "helvetica" , sans-serif"><a href="http://libraryofinvisible.blogspot.com/2014/03/nick-montfort-stephanie-strickland.html">Sea and Spar Between</a>, poetry generator</span><br />
<span face=""arial" , "helvetica" , sans-serif"><b><br /></b></span>
<span face=""arial" , "helvetica" , sans-serif"><b>Motti, Gianni</b></span><br />
<span face=""arial" , "helvetica" , sans-serif"><a href="http://www.dailymail.co.uk/news/article-2146436/Empty-sculpture-stand-blank-canvas-main-attractions-invisible-art-exhibition.html">"Magic Ink" (1989)</a>, drawings</span><br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif"><b>Paik, Nam June</b></span><br />
<span face=""arial" , "helvetica" , sans-serif"><a href="http://libraryofinvisible.blogspot.com/2014/04/nam-june-paik.html">"Zen for Film,"</a> film</span><br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif"><b>Powhida, William</b></span><br />
<span face=""arial" , "helvetica" , sans-serif"><a href="http://hyperallergic.com/118870/like-it-is-william-powhida-at-postmasters/?utm_medium=email&utm_campaign=Weekend+Judith+Bernstein+William+Powhida+Liz+Magic+Laser+Joanne+Greenbaum&utm_content=Weekend+Judith+Bernstein+William+Powhida+Liz+Magic+Laser+Joanne+Greenbaum+CID_079764f788c2faeffc163051d2f383dc&utm_source=HyperallergicNewsletter&utm_term=Like%20It%20Is%20William%20Powhida%20at%20Postmasters">"Overculture,"</a> (2014) installation</span><br />
<br />
<b style="font-family: Arial, Helvetica, sans-serif;">Xavier Serrano</b><br />
<span face=""arial" , "helvetica" , sans-serif"><a href="http://libraryofinvisible.blogspot.com/2014/05/xavier-serrano.html">Zswounderground</a>, blog </span><br />
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<span face=""arial" , "helvetica" , sans-serif"><b>Virgil, Erin</b></span><br />
<span face=""arial" , "helvetica" , sans-serif"><a href="http://libraryofinvisible.blogspot.com/2014/03/erin-virgil.html">"Soul Piece,"</a> essay</span><br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span><span face=""arial" , "helvetica" , sans-serif"><b>Warhol, Andy</b></span><br />
<span face=""arial" , "helvetica" , sans-serif"><a href="http://www.independent.co.uk/arts-entertainment/art/news/blank-canvas-london-gallery-unveils-invisible-art-exhibition-7767057.html">"Invisible Scullpture" (1985)</a>, sculpture</span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6402553457627092875.post-22491934749294524812021-07-23T05:30:00.001-07:002021-07-23T10:20:24.614-07:00Eileen Tabios<p> I'm delighted to share the 2021 release of my new tiny book, <i>The Silence is Deafening</i>. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXYoysywNmp-wqHwwYiD-ZVjJLKhJxqZyCNMEbw43hEYHpV8SPyCkzcOrLzQXUBxV_cpYXe8YmAdRmnxajIcsdV4CgMSmXebnmjlwZoMZiI6A9jhgcXu6KV8qH15jzAWHfZnbg2u4K9A/s1280/IMG_9869.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1230" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXYoysywNmp-wqHwwYiD-ZVjJLKhJxqZyCNMEbw43hEYHpV8SPyCkzcOrLzQXUBxV_cpYXe8YmAdRmnxajIcsdV4CgMSmXebnmjlwZoMZiI6A9jhgcXu6KV8qH15jzAWHfZnbg2u4K9A/w385-h400/IMG_9869.jpg" width="385" /></a></div><p class="MsoNormal" style="font-family: "Times New Roman", serif; margin: 0in;"><b><i><span style="background-color: white; color: #050505; font-family: Cambria, serif;"><br /></span></i></b></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; margin: 0in;"><b><i><span style="background-color: white; color: #050505; font-family: Cambria, serif;">The Silence is Deafening</span></i></b><b><span style="background-color: white; color: #050505; font-family: Cambria, serif;"> by Eileen Tabios<o:p></o:p></span></b></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; margin: 0in;"><i><span style="background-color: white; color: #050505; font-family: Cambria, serif;">(Eileen’sTinyBooks (Victoria Library), Saint Helena, CA, 2021. 1/1)<o:p></o:p></span></i></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; margin: 0in;"><span style="background-color: white; color: #050505; font-family: Cambria, serif;">Size: 1.25” x 1.75”<o:p></o:p></span></p><p>Here are other images of the deafening book:</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4VKAfx6-xPTZVllrTGLdvrya51Jler8vA6o0hr48HnOIMPkH2n0idB6vy3bd7U-bO69cuV5-HCIVfN5s3VuIv68Yn-tLN12I0Emh7Cn96f8D8BgD6qMG3ICx3AbrM42_Ek7SkhV0aZw/s1364/IMG_9870.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1364" data-original-width="1298" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4VKAfx6-xPTZVllrTGLdvrya51Jler8vA6o0hr48HnOIMPkH2n0idB6vy3bd7U-bO69cuV5-HCIVfN5s3VuIv68Yn-tLN12I0Emh7Cn96f8D8BgD6qMG3ICx3AbrM42_Ek7SkhV0aZw/w381-h400/IMG_9870.jpg" width="381" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN57NaCvSJSmTjT20_XujMllABn6pSiy4ZW0LrkR6om0F5UvocaG7yot77VgVKzHKyTu8X3QboaYO_F72JopMcshR__9AXGAIi3DpMAy7GswuqUr8CiWXmdhIOxBtil7X8X1gNPjO9WQ/s1280/IMG_9871.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN57NaCvSJSmTjT20_XujMllABn6pSiy4ZW0LrkR6om0F5UvocaG7yot77VgVKzHKyTu8X3QboaYO_F72JopMcshR__9AXGAIi3DpMAy7GswuqUr8CiWXmdhIOxBtil7X8X1gNPjO9WQ/w375-h400/IMG_9871.jpg" width="375" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1h3awo7kC45bdfW_EdJAm3vdPvuj4SA0z3VgWOfxeSwIa4lZEWadz0hxCFMtOmUrgxmLvlTrrFIsZNexUDsh1Ib-5Qusm1JkRqJPmVsHOqIXC15aUDKuNMObc43CBfTx7k0ZTs8av_g/s1280/IMG_9873.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1168" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1h3awo7kC45bdfW_EdJAm3vdPvuj4SA0z3VgWOfxeSwIa4lZEWadz0hxCFMtOmUrgxmLvlTrrFIsZNexUDsh1Ib-5Qusm1JkRqJPmVsHOqIXC15aUDKuNMObc43CBfTx7k0ZTs8av_g/w365-h400/IMG_9873.jpg" width="365" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwcr4T4GhyphenhyphenA2WKZ0PnjLKtxijaPmsWEaGXBCEhQPuCB4dvRAKgcnuIOjdOnCJIbViYkAzv9qWAhyImC-TTrngeHHZOD0haQup3jDu45BbfR7Q2k8i-aSgr74EwPFj-7Ko73c4P-6fQ7A/s1280/IMG_9874.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1276" data-original-width="1280" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwcr4T4GhyphenhyphenA2WKZ0PnjLKtxijaPmsWEaGXBCEhQPuCB4dvRAKgcnuIOjdOnCJIbViYkAzv9qWAhyImC-TTrngeHHZOD0haQup3jDu45BbfR7Q2k8i-aSgr74EwPFj-7Ko73c4P-6fQ7A/w400-h399/IMG_9874.jpg" width="400" /></a></div><br /><p><i>The Silence is Deafening</i> uses a hand-made leather bound journal by Ginger at <a href="https://www.etsy.com/listing/784631513/the-tiny-watercolorist-leather-journal?ref=yr_purchases">JustJournalIt</a>. Materials: leather, cotton thread, and Arches 90lb cold pressed cotton watercolor paper. Ginger used the long stitch method to affix the paper to the spine.</p><p>I held on to Ginger's blank journal for nearly a year before coming across a Facebook post by Chile-based artist Felipe Cussen:</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKqr1VmAM3hCgdTZIg-DYAHyox7_mSrGjL9PG7osxHv_JP0d7aKKq6Urs9xEXLibsds5jk1RBuuYUBqPEP5oZf6RrwgGheuA7xkm0c0lLHPjB5k-SQcUcK_u6Czs2Er3WiqwaQilPn6g/s1280/Felipe+Cussen.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="829" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKqr1VmAM3hCgdTZIg-DYAHyox7_mSrGjL9PG7osxHv_JP0d7aKKq6Urs9xEXLibsds5jk1RBuuYUBqPEP5oZf6RrwgGheuA7xkm0c0lLHPjB5k-SQcUcK_u6Czs2Er3WiqwaQilPn6g/w414-h640/Felipe+Cussen.jpg" width="414" /></a></div><p>Felipe's post on Fra Elbertus' <i>Essay on Silence</i> inspired me to turn the blank journal into a blank-paged miniature book. Thanks to Felipe for permission to present his original post.</p><p><br /></p><p><br /></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6402553457627092875.post-85331343850436616092019-02-02T19:53:00.000-08:002019-02-04T09:08:35.405-08:00MARTON KOPPANY (2)<div style="font-family: Helvetica; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; line-height: normal;">
<b>TWO VISUAL POEMS: </b></div>
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"Self-portrait as A4" and "Eternity"</div>
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<b>"Self-portrait as A4" </b></div>
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<blockquote class="tr_bq">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>"a thing of interrelated constituents first appears to an awareness as a whole, but may then be deliberately divided in order to focus on different constituents; yet, for the arising of an intuitive understanding that leads to purposeful activity, one needs to unite the constituents and once again comprehend the thing in its closely interrelated form."</i></span></blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgItxPKGuk1toLfbwaTs7aQhwrQoPV2N-fQiwG2-c4shfwZP-Ve_XeZPjMd59pL61ddBQNp1_CbQf59rzB9LGgrrfy7H32vu1oB_IkcAp9hduUnZlaza7pn6HeH7avQvxhA56aYQ8bTaA/s1600/Self-portrait+as+A4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="750" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgItxPKGuk1toLfbwaTs7aQhwrQoPV2N-fQiwG2-c4shfwZP-Ve_XeZPjMd59pL61ddBQNp1_CbQf59rzB9LGgrrfy7H32vu1oB_IkcAp9hduUnZlaza7pn6HeH7avQvxhA56aYQ8bTaA/s640/Self-portrait+as+A4.jpg" width="480" /></a></div>
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<b>"Eternity"</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheALoPNaRTE_gf7gfEUkjPsbIIvou_YhnP37RnqiHqlagFVqtJs1RDXASzFHZJd9UoemFYTN5dDohoBKSBZfFR2J8XgdmdbQgernb-zrHMS86eaR6Fx2G2EVv1ZUy7XFTslr2gcCAxHg/s1600/Eternity.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="750" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheALoPNaRTE_gf7gfEUkjPsbIIvou_YhnP37RnqiHqlagFVqtJs1RDXASzFHZJd9UoemFYTN5dDohoBKSBZfFR2J8XgdmdbQgernb-zrHMS86eaR6Fx2G2EVv1ZUy7XFTslr2gcCAxHg/s640/Eternity.jpg" width="480" /></a></div>
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<span style="font-size: x-small;">[These works were previously published by <i>Otoliths Magazine</i>, Editor Mark Young]</span></div>
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<span style="color: #333333;"><span style="font-family: arial, helvetica, sans-serif;">Márton Koppány (b. 1953) lives in Budapest, Hungary. He has been interested in (visual) poetry and (language) art since the late 70’s. Recent books in print:<i>Endgames</i>, <i>Modulations</i>, <i>Addenda</i>, all by Otoliths, 2008, 2010, 2012; <i>The Reader, </i>Runaway Spoon Press, 2012<i>; The Seer</i>, Redfoxpress, 2017. In anthologies: <i>Anthology Spidertangle</i>, <i>The Last Vispo</i>, <i>A Global Visuage</i>, <i>The Dark Would </i>and <i>The New Concrete</i>. Recent shows include: Text Festival, Bury Art Museum, 2011 and 2014; </span></span><span style="font-family: arial, helvetica, sans-serif;"><span style="color: #333333;">Asylum, collaborated with Albert Pellicer, Iklectik Art Lab, London, 2017; Foreigners, Bury, 2017.</span></span></div>
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<span style="font-family: arial, helvetica, sans-serif;"><span style="color: #333333;"></span><span class="gmail-MsoHyperlink" style="color: #0563c1;"><a href="https://sites.google.com/site/booksbymartonkoppany/" style="color: #0563c1;">https://sites.google.com/site/booksbymartonkoppany/</a></span></span></div>
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<span style="font-family: arial, helvetica, sans-serif;"><span class="gmail-MsoHyperlink" style="color: #0563c1;"><a href="https://www.thing.net/~grist/ld/koppany/koppany.htm" style="color: #0563c1;">https://www.thing.net/~grist/ld/koppany/koppany.htm</a></span></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6402553457627092875.post-44659926807974644972015-06-02T10:26:00.000-07:002015-06-02T10:26:03.724-07:00MANUEL BLANCO<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #141823; line-height: 20px;"><b>El Indio</b></span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #141823; line-height: 20px;"><i>(late 19th century)</i></span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #141823; line-height: 20px;"><b>A Project Description by Angelo Suarez</b></span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #141823; line-height: 20px;">Philippine literary history is not w/o its share of telling silences. Literary historian Resil Mojares writes of the Augustinian botanist Manuel Blanco, a Spanish friar credited w/ having penned </span><i style="color: #141823; line-height: 20px;">Flora de Filipinas, segun el sistema sexual de Linneo </i><span style="background-color: white; color: #141823; line-height: 20px;">(“Flowers of the Philippines, according to thesexual system of Linnaeus”) in 1837, who “was tasked by his order to write atreatise on the character of the Philippine native (</span><i style="color: #141823; line-height: 20px;">indio</i><span style="background-color: white; color: #141823; line-height: 20px;">). The friar secluded himself in a monastery and admonished his confreres that the book he was working on should be opened only after his death. When he died years later, the friars eagerly opened the </span><i style="color: #141823; line-height: 20px;">magnum opus </i><span style="background-color: white; color: #141823; line-height: 20px;">on which their brother had long labored, only to find that the book contained nothing but blank pages.” The book is said to be thick, held together by a cover made of vellum that bore its title, </span><i style="color: #141823; line-height: 20px;">El Indio</i><span style="background-color: white; color: #141823; line-height: 20px;">. Its blankness—reinforced no less by author’s surname, Blanco—cld be read as a testament to either the unknowability of a people or their lack of merit to be even known, or even aseither the diligent friar’s refusal to reduce a people into an object of theimperial gaze or the outcome of anthropological incompetence borne of eccentricity. This interpretive indeterminacy, however, veils the possibility of reading the substrate that is the paper itself—such that an equivalency between the indio & the aggregate of sheets is posited, & that conquest is presented not so much as inscription onto the ‘native’ page but the very framing of the sheets as native: the indio is itself an imperial fantasy, a discursive </span><i style="color: #141823; line-height: 20px;">composition</i><span style="background-color: white; color: #141823; line-height: 20px;">.</span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #141823; line-height: 20px;"><b>A Paper in Kritika (Ateneo University, Philippines)</b></span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #141823; line-height: 20px;"><a href="http://kritikakultura.ateneo.net/images/pdf/KK23/Paginated/23%20Mojares%20El%20Indio%20277-285.pdf">"Manuel Blanco's El Indio and the History of a Rumor"</a></span></span><br />
<span style="color: #141823; font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; line-height: 20px;">By Resil B. Mojares</span></span><br />
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Book without a book<br />
(Original from Oxford University. Digitized July 31, 2006)<br />
<b>--from <a href="http://theartofgooglebooks.tumblr.com/guide">The Art of Google Books</a></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjctd0_HhMAdBjy4jwIjkHuDZmRpyAi-ILT0oJKIV5CA2c1LPgDhwbsgHOyOj920S4LU7fgF1GEMPkvDX2dB8SkDy7fjlfzBedThib4Y1YSYNz-Iply5fGob_kD3aHLpD7eVvknVzt1Vg/s1600/tumblr_n97zyvDnuM1qixa76o1_1280.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjctd0_HhMAdBjy4jwIjkHuDZmRpyAi-ILT0oJKIV5CA2c1LPgDhwbsgHOyOj920S4LU7fgF1GEMPkvDX2dB8SkDy7fjlfzBedThib4Y1YSYNz-Iply5fGob_kD3aHLpD7eVvknVzt1Vg/s1600/tumblr_n97zyvDnuM1qixa76o1_1280.png" height="103" width="400" /></a></div>
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<b><br /></b>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6402553457627092875.post-81710228408913702832014-05-15T09:28:00.000-07:002014-05-19T13:06:02.340-07:00XAVIER SERRANO (2)<div style="margin-bottom: 15px; padding: 0px;">
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: black;"><b><i><a href="http://issuu.com/krshtst/docs/bartlebits.docx">BARTLEBITS</a></i></b></span><br style="color: black;" /><span style="color: black;">(work-in-progress: "a black hole in expansion")</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: black;"><i>Bartlebits</i> is about erased sections in books. Most of these are not just corrections but actual deletions, wanted or unwanted. Throughout the various chapters, you will recognise some famous figures or familiar writings. These words, however, have been for some reason taken out and omitted from the original works. At the end of <i>Bartlebits</i>, sources and links can be found. Why call this <i>Bartlebits</i>? Maybe because we are dealing here with dead letters. Maybe... Note that this is a work in progress, in other words a black hole in expansion.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDULwZlex-JXP_FTopG1uJl8xaE4nJJ5PU22GRquLDAtGkXHSIkb68nnVnKxGgFCQkS5Wi55gT-egDiPgecqNqnQUGE_W2MBXnIEeYocFz1bVUVlM4UmPfFyrEQ33DY-o0T0DdLhW34g/s1600/Xavier+Serrano.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDULwZlex-JXP_FTopG1uJl8xaE4nJJ5PU22GRquLDAtGkXHSIkb68nnVnKxGgFCQkS5Wi55gT-egDiPgecqNqnQUGE_W2MBXnIEeYocFz1bVUVlM4UmPfFyrEQ33DY-o0T0DdLhW34g/s1600/Xavier+Serrano.jpg" height="240" width="320" /></a></div>
<span style="color: black;"><span style="font-family: Arial, Helvetica, sans-serif;">Xavier is the author of several books of fiction and poetry published in France and Canada. His work has been featured in a number of international magazines and webzines. He is interested in alternative, experimental and authorless writing. He is also the editor of a small but funny magazine.</span></span><br />
<span style="color: black;"><span style="font-family: Arial, Helvetica, sans-serif;"><i><span style="font-size: x-small;"><br /></span></i></span></span><span style="color: black;"><span style="font-family: Arial, Helvetica, sans-serif;"><i><span style="font-size: x-small;">(Author photo is a screenshot from </span></i></span></span><span style="font-family: Arial, Helvetica, sans-serif;"><i><span style="font-size: x-small;"><b><a href="http://libraryofinvisible.blogspot.com/2014/05/xavier-serrano.html">Zswounderground</a></b>.)</span></i></span><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6402553457627092875.post-6522657633803106372014-05-13T13:23:00.001-07:002014-05-15T10:29:57.398-07:00XAVIER SERRANO (1)<b style="font-family: Arial, Helvetica, sans-serif;"><a href="http://zswounderground.blogspot.fr/">Zswounderground</a> </b><br />
<span style="font-family: Arial, Helvetica, sans-serif;">(Extracting Buried Meaning Since Aug 08)</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>About the </b></span><b style="font-family: Arial, Helvetica, sans-serif;"><a href="http://zswounderground.blogspot.fr/">Zswounderground</a></b><b style="font-family: Arial, Helvetica, sans-serif;"> Blog Project:</b><br />
<span style="font-family: Helvetica;">INTRODUCTION </span><br />
<span style="font-family: Helvetica;">The Introductory note on the site reads as follows: </span><br />
<span style="font-family: Helvetica;">«These mines, tunnels, pits and shafts are regularly being extended. If you need some light while excavating, please contact us and we will provide you with some instructions. But remember that everything here is happening below the surface. If you get lost, get lost.» </span><br />
<span style="font-family: Helvetica;">=> This is a blog WITHOUT any posts on the home page; </span><br />
<span style="font-family: Helvetica;">=> ONLY COMMENTS are inserted ; </span><br />
<span style="font-family: Helvetica;">=> ALL posts are left blank (or may contain an error message) ; </span><br />
<span style="font-family: Helvetica;">=> Everyting is taking place BENEATH the surface, is hidden from sight, and potential content has to be unearthed (that is to be discovered from the “Comments” area). </span><br />
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<span style="font-family: Helvetica;">INTENTION </span><br />
<span style="font-family: Helvetica;">Meaning/mining: The blog is built upon the metaphor of mining. The explorer has to dig his/her way to light, content and meaning (if any). But the site of course is full of traps and dead-ends. </span><br />
<span style="font-family: Helvetica;">**First of all, I was interested in undermining communication and the very act of blogging. At first sight (and as we say somewhere "sight is under destruction"), there is nothing to see on the HOME-page (we call it the HOLE-page). No feeds, no notes, no dates. The only way to enter is to fall through the HOLE-page. In the absence of any white rabbit, the digger is free to find his/her own gems or get lost. Secondly I wanted to disrupt the nature and content of “Comments”. Usually “comments” are focused on praise, criticism, comparison, spam, promotion / self-promotion, etc. Instead, I wanted to create some confusion and play on bizarre interactions, disconnected reactions, nonsense, etc. </span><br />
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<span style="font-family: Helvetica;">DESCRIPTION </span><br />
<span style="font-family: Helvetica;">Some kind of borgesian maze is thus created with internal loops (within the mine) or external drills (towards other sites or networks).</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3tyWqmlY3CpXy42sJiMHhRU6pUmh4SelbfiCNw5fBlmQ5RYhkQZhZzcqc5o9IGFJorZKrgi8ncHSIWZxx7Tsj38RqQvrmA2_RMmv4lU2G4rkjE7B5Essdi8BoxMWB5epwtVohbmJ6cA/s1600/ZSWounderground.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3tyWqmlY3CpXy42sJiMHhRU6pUmh4SelbfiCNw5fBlmQ5RYhkQZhZzcqc5o9IGFJorZKrgi8ncHSIWZxx7Tsj38RqQvrmA2_RMmv4lU2G4rkjE7B5Essdi8BoxMWB5epwtVohbmJ6cA/s1600/ZSWounderground.JPG" height="240" width="320" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">While the posts on Zswounderground are devoid of content, there are some titled posts. Per the projecs concept, most of the action occurs in the Comments section. For example, there is a textless post entitled "Collapsing spaces." When you go to the comments section, there is this comment:</span><br />
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<dt class="blog-author" id="c5704831150690500987" style="background-color: white; color: #202020; cursor: pointer; line-height: 18px; margin: 10px 0px 0px; padding: 0px 0px 0.25em; white-space: nowrap;"><span style="font-family: Arial, Helvetica, sans-serif;"><span dir="ltr"><a href="http://www.blogger.com/profile/03272117744921786942" rel="nofollow" style="color: #1155cc; text-decoration: none;">Zswlkr</a></span> said...</span></dt>
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<span style="font-family: Arial, Helvetica, sans-serif;">1. Hand written melancholy<br />2. Dreamscape formation after working hours<br />3. Boxin[g]Love<br />4. Screening obsessions<br />5. Dalinian virgin auto-submitted to her own pain<br />6. Kinematic frontier<br />7. Mutilated erection<br />8. Distance between two crashing planes<br />9. Defeated body</span><br />
<a href="http://zswound-mine.blogspot.com/2008/12/bubonic-plague-dracula.html" rel="nofollow" style="font-family: Arial, Helvetica, sans-serif; text-decoration: none;">10. Escape</a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Note that No. 10, "Escape," is a link. Click on link and you will end up at a YouTUBE video by donnasummerschool of "Bubonic Plague - Dracula." </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Xavier says, "</span><span style="color: black; font-family: Arial, Helvetica, sans-serif; line-height: normal;">Many posts lead nowhere. Some, on the contrary may lead to the comments zone through which you can get to other posts or other comments. But the overall themes being darkness, emptiness and loss, you never go far and return to what I call the 'hole-page'.</span><span style="font-family: Arial, Helvetica, sans-serif;">"</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The "hole-page," of course, is the original empty post on Zswounderground.</span></div>
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<span style="color: black; font-family: Helvetica; line-height: normal;">CONCLUSION </span><br />
<span style="color: black; font-family: Helvetica; line-height: normal;">Zswounderground is a blog which refuses to make things easy for the reader. On Zswounderground, readers will spend either 0 seconds or several hours. Zswounderground is one of the many projects from Zswound (</span><a href="http://zswound.blogspot.fr/p/about.html" style="font-family: Helvetica; line-height: normal;">http://zswound.blogspot.fr/p/about.html</a><span style="color: black; font-family: Helvetica; line-height: normal;">).</span><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
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<span style="color: black; line-height: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">Xavier is the author of several books of fiction and poetry published in France and Canada. His work has been featured in a number of international magazines and webzines. He is interested in alternative, experimental and authorless writing. He is also the editor of a small but funny magazine.</span></span><br />
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<span style="color: black; line-height: normal;"><span style="font-family: Arial, Helvetica, sans-serif;"><i><span style="font-size: x-small;">(Author photo is a screenshot from </span></i></span></span><span style="font-family: Arial, Helvetica, sans-serif;"><i><span style="font-size: x-small;">Zswounderground.)</span></i></span><br />
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</dd>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6402553457627092875.post-71561519923446295722014-05-04T09:37:00.000-07:002014-06-05T15:50:53.476-07:00ADITYA BAHL<b><i><span style="font-family: Times, Times New Roman, serif;">ARE poems</span></i></b><br />
<span style="background-color: white; font-family: Times, Times New Roman, serif; line-height: 18px;">(currently in manuscript form, Himachal Pradesh, India, 2014)</span><br />
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<b>PROJECT DESCRIPTION</b></span><br />
<span style="font-family: Times, Times New Roman, serif;"><i><b>ARE poems </b></i>is an erasure of the book titled, <i>John Clare, Poems Selected by Paul Farley. </i>The "cover" below is the result of the erased book cover to "create a sort of a digital book artifact for now."</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrw4bduVjFVCX09oqDAb0MWhfhK005qIvjqxEfser6jOKnQ7hEd9wDRzdTtFRYf_OaNwoDntN7tSFokLvDzIdy6x7mElHZpZC3LlvvYJE-5B1zXn1wp8_uhLDPzDvixaGHV_2y_MCF_A/s1600/Cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrw4bduVjFVCX09oqDAb0MWhfhK005qIvjqxEfser6jOKnQ7hEd9wDRzdTtFRYf_OaNwoDntN7tSFokLvDzIdy6x7mElHZpZC3LlvvYJE-5B1zXn1wp8_uhLDPzDvixaGHV_2y_MCF_A/s1600/Cover.jpg" height="320" width="240" /></a></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: 12pt;"><u>Artist Statement:</u></span><br />
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Times, Times New Roman, serif; font-size: 12.0pt; line-height: 115%;">The book, <u>John<span style="mso-spacerun: yes;"> </span>Clare/ Poems Selected by Paul Farley</u> was
bought on the street side Sunday book market of Daryaganj, Old Delhi, all for
twenty rupees. The prices largely depend only on the size and thickness of the
books. <o:p></o:p></span></i></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: 12.0pt; line-height: 115%;">Several de/re-readings/writings/ventriloquisms (English is not my mother
tongue) of Clare's phenomenology and local descriptions soon developed into a
close attention to the fundamental particles of language/life— diectics,
expletives, pronouns— language of everywhere and time.<o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: 12.0pt; line-height: 115%;">The work (via I) progressed as a narrative of a loss and recovery of
itself, as meaning— revealing the perceptual/perpetual correspondence between
description and <i style="mso-bidi-font-style: normal;">it</i>’s grammar— as <i style="mso-bidi-font-style: normal;">as</i> what’s what’s.<o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: 12.0pt; line-height: 115%;">The semiotic implications of the Cartesian subjectivity— the fundamental
dichotomy of subject-object have had concurrent manifestations in the liberal
lineage of private property (Machievelli Hobbes Locke Rousseau onwards the
constant attempt to supplement the rather sterile Enlightenment understanding
of I, with varied invocations of the more political “We”)<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: 12.0pt; line-height: 115%;">What is I & What is not-I. Not “the inhuman black of empty space”
(note on Ronald Johnson’s <i style="mso-bidi-font-style: normal;">Radios</i>) but
<i style="mso-bidi-font-style: normal;">Shunyata</i>—a negation of <i style="mso-bidi-font-style: normal;">drishti</i> (view, judgement), not to be mistaken
as the denial of reality, but rather to be understood as a “freeing of reality
of the artificial and accidental restrictions” (T R V Murthy).<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Times, Times New Roman, serif; font-size: 12.0pt; line-height: 115%;">Acts I perform are
creatures<br />
Who create others.<o:p></o:p></span></i></div>
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<span style="font-family: Times, Times New Roman, serif;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 115%;">. . .or words don't
need us, any more than trees? … What do words know of each other, possibilities
of sentience in words as well as dogs, plants.<span style="mso-spacerun: yes;">
</span></span></i><span style="font-size: 12.0pt; line-height: 115%;"><o:p></o:p></span></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Times, Times New Roman, serif; font-size: 12.0pt; line-height: 115%;">The form is
perceived and the eye is the perceiver. It (eye) is perceived and the mind is
the perceiver. The mind with its modifications is perceived and the Witness
(the self) is the perceiver. But It (the Witness) is not perceived (by any
other). <o:p></o:p></span></i></div>
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<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 115%;">We live in a world
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<!--StartFragment-->
<!--EndFragment--><br />
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif; line-height: 115%;"><span style="font-size: small;">and some such. . .</span><br />
<span style="font-size: 12pt;"> </span></span></div>
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<span style="font-family: Times, Times New Roman, serif; line-height: 115%;"><br />
{<i>Nagarjuna, R. Grenier, Drg-Drsya Viveka,
G. Oppen</i><span style="font-size: small;">}<o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div class="MsoNoSpacing">
<b><span style="font-family: Times, Times New Roman, serif;">SAMPLE PAGES FROM THE BOOK:</span></b></div>
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<span style="font-family: Times, Times New Roman, serif;">(Click on images to enlarge; when you look at the pages, you can see the ghosts of the erased text):</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;"><span style="font-family: Times, Times New Roman, serif;">Born and brought up in the Himalayan state of Himachal Pradesh. Works
have appeared or are forthcoming in <i>E-Ratio,
Lilliput Review, iArtistas, Haiku 21, Offerta Spceiale Otoliths, Poetry
Salzburg Review, Rampike</i>. A chapbook of visual poetry is available <a href="http://thisisvisualpoetry.com/?p=1207">here</a>. Co-edits <i>Bones</i>, a journal of contemporary haiku. </span><span style="font-family: Arial;"><o:p></o:p></span></span></div>
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<span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 13px; line-height: 18px;"><br /></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6402553457627092875.post-12185975876439763862014-04-15T09:10:00.000-07:002014-04-21T09:18:08.843-07:00JULIE DANHO<span style="font-family: Arial, Helvetica, sans-serif;"><i><b>Six Portraits</b></i> </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">(<a href="http://writerscenter.org/">Slapering Hol Press at The Hudson Valley Writers’ Center</a>, Sleepy Hollow, N.Y., 2014)</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Julie Danho’s <i>Six Portraits</i> is the 2013 winner of the annual Slapering Hol Press Chapbook Contest sponsored by one of the oldest chapbook presses in the United States. The poems in this collection include:</span></div>
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<b><span style="font-family: Arial, Helvetica, sans-serif;">Erased de Kooning<o:p></o:p></span></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Robert Rauschenberg wanted to know if unmaking art<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">could make art. This idea seems too much for me,<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">having just seen giant irises blooming out of a wall, a painted<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">lower intestine, a woman’s bust sculpted from soap. But I’m standing<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">before his canvas, his <i>Erased de Kooning Drawing</i>, and, like much art,<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">its title tells me what to see. If you were here, how you would<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">praise this, how we would argue over whether this was true,<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">over what, if anything, was. Rauschenberg erased a de Kooning<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">that de Kooning reluctantly gave him because he appreciated<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">the idea, and it was, Rauschenberg said, all about the idea.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">He erased the painting in celebration, just as you (I wish I could believe)<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">erase me. Not that I’m art, or you’re art, but weren’t we ideas<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">of each other? If you were here, you’d make your point, walk away<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">before you saw that Rauschenberg erased for a month and still<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">there are ink spots, de Kooning’s violet crayon; there are even eyes,<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">still looking. My love, Rauschenberg lied. The idea,<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">yes. But how his arms must have ached afterwards.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0zsX4-Hr0V8aajJhqxqcPI87UUtU3Q4is4bTobQPL5H57dQIFnuC1v6-xNVswuV2-IrqzvYYFp7YDcm_kJgMpGTB5OZ4uGxFVI1qefjrEpCHD_MV194lh7YKToswThiU4uIKtG2KrJA/s1600/danho_j.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0zsX4-Hr0V8aajJhqxqcPI87UUtU3Q4is4bTobQPL5H57dQIFnuC1v6-xNVswuV2-IrqzvYYFp7YDcm_kJgMpGTB5OZ4uGxFVI1qefjrEpCHD_MV194lh7YKToswThiU4uIKtG2KrJA/s1600/danho_j.jpg" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;">Julie Danho received her MFA from Ohio State University and recipient of a Fellowship Merit Award in Poetry from the Rhode Island State Council on the Arts. Julie won the 2013 Slapering Hol Press Chapbook Competition with her collection <i>Six Portraits</i>. Her poems and essays have appeared or are forthcoming in such publications as <i>Barrow Street, Southern Poetry Review, Bellingham Review, Cream City Review</i>, and <i>West Branch</i>. She works as an editor in Providence, Rhode Island.</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6402553457627092875.post-83903045044001087442014-04-10T13:47:00.000-07:002014-04-20T19:15:41.381-07:00SS PRASAD<!--[if gte mso 9]><xml>
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<!--StartFragment-->
<!--EndFragment--><br />
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><i><b>O Poems</b></i></span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">(currently in manuscript form, Bangalore, India, 2014)</span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNoSpacing" style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><br />
<b>About the Project</b></span></div>
<div class="MsoNoSpacing" style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;">I see this work as extending from <i>10<u>0</u> Poems</i>. As an
attempt to reduce further, I decided to write poems with titles alone and make
the body 0: unpoeming the poem as opposed to leaving them untitled. I call
these ‘0 Poems’.<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><i>--SS Prasad</i></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br />
<br />
Here are images from the book <i>(click on images to enlarge)</i>:</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<br />
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<span style="font-family: Arial, Helvetica, sans-serif;">SS Prasad is the author of <b><a href="http://galatearesurrection18.blogspot.com/2012/05/100-poems-by-ss-prasad.html"><i>100 Poems</i>.</a></b> He writes from Bangalore, India.</span><br />
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Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-6402553457627092875.post-91117619195693611132014-04-10T13:04:00.000-07:002014-04-14T13:09:41.146-07:00NAM JUNE PAIK<span style="font-family: Arial, Helvetica, sans-serif;"><b>Zen for Film</b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">(1964)</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><a href="http://ucb-cluj.org/the-aesthetic-of-active-boredom-in-nam-june-paiks-zen-for-film-1964/">“The Aesthetic of Active Boredom in Nam June Paik’s Zen for Film (1964)" by Eugene Kwon</a></b> in <i>UCB Comparative Literature Undergraduate Journal</i></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Here is a useful <b><a href="https://www.google.com/search?q=nam+june+paik+film+blank+screen&tbm=isch&imgil=-3uMJRuY-yyW6M%253A%253Bhttps%253A%252F%252Fencrypted-tbn0.gstatic.com%252Fimages%253Fq%253Dtbn%253AANd9GcQJEf0WDUm0LjM29ZjRahM6KrqnrlvjwDkR5O-6lx8QkgxCFeW-kA%253B538%253B336%253BS-lRWk76D6da7M%253Bhttp%25253A%25252F%25252Fwww.afterall.org%25252Fjournal%25252Fissue.22%25252Fbeyond.the.appearance.of.imagelessness.preliminary.notes.on.zen.for.films.enchanted.materi&source=iu&usg=__1RW_5oi-3UiUSXH1ticd646ZeHc%3D&sa=X&ei=WD9MU5XONqSRygHm44GgDw&ved=0CC8Q9QEwAQ#facrc=_&imgdii=_&imgrc=-3uMJRuY-yyW6M%253A%3BS-lRWk76D6da7M%3Bhttp%253A%252F%252Fwww.afterall.org%252F2009%252F10%252F29%252Fzenforfilm03-538x336.jpg%3Bhttp%253A%252F%252Fwww.afterall.org%252Fjournal%252Fissue.22%252Fbeyond.the.appearance.of.imagelessness.preliminary.notes.on.zen.for.films.enchanted.materi%3B538%3B336">link to images</a></b> of and/or related to "Zen for Film".</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Nam June Paik at <b><a href="http://en.wikipedia.org/wiki/Nam_June_Paik">Wikipedia</a></b>.</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6402553457627092875.post-46904935443254738532014-04-09T09:36:00.000-07:002014-04-15T09:36:59.468-07:00EDWARD SANDERS<div class="MsoNormal">
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<!--StartFragment--><span style="font-family: Arial, Helvetica, sans-serif;"><b><i>A Variorum Edition of the Entire Extant Works of
Thales! The Famous Milesian Poet, Philosopher, Physicist, Astronomer,
Mathemetician, Cosmologist, Urstoff-Freak, Absent-Minded Professor & Madman</i> </b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">(Fuck You Press, New York, 1964) <!--EndFragment--></span></div>
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<!--StartFragment--><span style="font-family: Arial, Helvetica, sans-serif;">“After
a brief introduction by Aristotle (in Greek) the following page of the
four-page pamphlet is blank. Thales of Miletus – typically considered the first
figure of Western philosophy – left no writings.” (Dworkin, p.176)<!--EndFragment-->
</span></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; line-height: 18px; text-decoration: underline;">Cited by John Bloomberg-Rissman from </span><b style="background-color: white; line-height: 18px;"><a href="http://libraryofinvisible.blogspot.com/2014/04/craig-dworkin.html" style="text-decoration: none;"><i>No Medium</i> by Craig Dworkin</a></b><span style="background-color: white; line-height: 18px; text-decoration: underline;"> (The MIT Press, Cambridge, MA, 2013)</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; line-height: 18px; text-decoration: underline;"><br /></span></span><span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; line-height: 18px; text-decoration: underline;"><br /></span></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6402553457627092875.post-36767138461404045902014-04-08T16:30:00.000-07:002014-04-13T17:05:36.277-07:00RICHARD KOSTELANETZ (1)<div class="MsoNoSpacing">
<b><i><span style="font-family: Arial;">Conceptual
Fictions</span></i></b></div>
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<span style="font-family: Arial;">(Archae Editions, Ridgewood-Soho,
New York, 2012)<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi92IFywGdt6qy3Ngb4n6FeXQVQfn_SRP9zdPPKXP6lgaVTnLOL7oB7_JrKZkQW0-wa0efB3bHiI6xawFFZPAtG3j0o1P0ZJCEoe9GhdeAscAcIXl5YcxX54BeskK0x87MzXYLEMeoQyQ/s1600/conceptual+fiction.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi92IFywGdt6qy3Ngb4n6FeXQVQfn_SRP9zdPPKXP6lgaVTnLOL7oB7_JrKZkQW0-wa0efB3bHiI6xawFFZPAtG3j0o1P0ZJCEoe9GhdeAscAcIXl5YcxX54BeskK0x87MzXYLEMeoQyQ/s1600/conceptual+fiction.jpg" height="320" width="212" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>About the Project:</b></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">From <i>Conceptual Fictions</i>:</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The radical idea posited by Conceptual Art in the 1970s was that prose statements alone could suggest experiences in the tradition of visual art. It grew out of esthetic minimalism’s hypothesis that more could be experienced with less, much less.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"> Both conceptual art and esthetic minimalism depend upon contextual framing that was initially realized by bestowing radical new work with the honorific epithet of Art. This could be done by giving a resonant title to slender visible content or by placing it in a credible art context. For an historic precedent, consider how Marcel Duchamp’s urinal, which, purchased in a neighborhood supply store, gained esthetic value from inclusion beside accepted paintings and sculptures in a prominent art exhibition.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"> Though most conceptual artists use words, sometimes concretely (Robert Barry), other times obscurely (Lawrence Weiner), their wordworks have had little influence upon people who began as writers, except perhaps myself, who fortunately moved in 1974 into that esthetic hothouse known as Artists’ SoHo.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"> In a visual art context Holly Crawford printed a conceptual narrative consisting only of punctuation marks extracted from a Clement Greenberg text, with all words between the marks removed. (One assumption here is that someone else’s punctuation marks would be visibly different. Or, better, that a writer could compose a narrative entirely of punctuation marks, allowing the reader to imagine what words might fall between.) In a more strictly literary context, David Markson’s miscellaneous book of statements, <i>Reader’s Block</i> (1996), benefited conceptually by being published/billed as “a novel.” Though as no further claim is made for it in that respect, such deviance lacked the critical weight to be noticed (perhaps except by me).<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"> If we can agree that a <i>Conceptual Fiction</i>, in the tradition of Conceptual Art, would suggest with words alone a story that need not be written, or more story than is written, then I’ve been producing such literature since around that time, initially with <i>Openings & Closings</i> (1975), a book of single sentences meant to be, alternately, either the openings or the closings of otherwise non-existent fictions.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"> In the mid-1970s, I also developed the idea of Constructivist Fiction, which consists of symmetrical line-drawing whose squares changed incrementally over a sequence of pages to suggest a narrative before concluding. The narrative experience comes from the reader’s turning the page.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"> In this context, I published limited editions of <i>Tabula Rasa: A Novel </i>and <i>Inexistences: Stories </i>(both 1978), the former eight inches square, the latter four inches square. Each has a printed cover and spine, a title page, and then a single page with contextual information. As all the remaining pages in both books were pristine white, this encasing framing suggests conceptually that the blank pages must contain a narrative.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"> By the late 1970s I extended the concept of Conceptual Prose to <i>Epiphanies</i>, whose sentences were meant to be the coalescing moments—Epiphanies in the James Joycean sense—of otherwise nonexistent stories, suggesting through only a short text some additional fiction that might have followed and might have come before.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"> All these texts of mine depend upon strategic framing established with such indisputably literary titles as Fiction, Stories, Novels, Epiphanies. (Simply, a sentence published under one or another of those rubrics thus differs in value and weight from the same sentence appearing without such a frame.)<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"> Four decades ago, I called this work Inferential Art because so much of the meaning had to be inferred from resonant framing. The pioneering epitome in my mind was John Cage’s so-called silent piece, <i>4’33”</i> (1952), where the audience was invited to infer from a situation where music was expected, with a known pianist statuesque before a keyboard, that the “music” consisted of the sounds incidentally heard with the announced time-frame. The radical implications held that “music” consisted of all the miscellaneous sounds heard within that space and within that time frame and, then, that significant meaning could be embedded in the initial perception of nothing. (My own <i>In Memory of John Cage</i> (2009) is a thick piece of glass, 13” square, mounted frameless on a pedestal, the inferred theme being that the Art consists of whatever can be seen through this glass.)<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"> What I called Sketchy Stories, collected in <i>Furtherest Fictions</i> (2007), broached the conceptual idea of suggesting a narrative with only a few discrete words, nonsyntactially connected, followed by a period, the closing punctuation mark (which the British call “a full stop”) defining the fragments as fictions. The same principle of closure informs my <i>Two-Element Stories</i> (2003) and <i>3-Element Stories</i> (1998), both of which contain words that are not obviously connected syntactically.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">***</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">You can see sample pages from <i>Conceptual Fictions</i> over <b><a href="http://www.amazon.com/Conceptual-Fictions-Richard-Kostelanetz/dp/0932360610/ref=sr_1_1?s=books&ie=UTF8&qid=1397327424&sr=1-1&keywords=kostelanetz+conceptual+fiction">HERE</a></b>. Some examples of Conceptual Fiction's "words [that suggest] a story that need not be written, or more story than is written" are the words:</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">This must be the middle of the novel.</span></blockquote>
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<span style="font-family: Arial, Helvetica, sans-serif;">or</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The action, previously set in the past, now shifts into the present.</span></blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGhDNxfhHp_ETofOJQL9hBeaU2EKRyOVn39GkndH_qw-uwBSWCH9NACLa6wiRoFyS9FTm9qYunEnlWTrA_YCUg84MGEq5aR95JfKj28ioVJDJe6DDwbKrX5ig1Y5hrIPJLUifpQ1ortQ/s1600/DroznerW:RKNAMECAPTION.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGhDNxfhHp_ETofOJQL9hBeaU2EKRyOVn39GkndH_qw-uwBSWCH9NACLa6wiRoFyS9FTm9qYunEnlWTrA_YCUg84MGEq5aR95JfKj28ioVJDJe6DDwbKrX5ig1Y5hrIPJLUifpQ1ortQ/s1600/DroznerW:RKNAMECAPTION.jpg" height="320" width="296" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;">Individual entries on Richard Kostelanetz’s work appear in various editions of <i>Readers Guide to Twentieth-Century Writers, Merriam-Webster Encyclopedia of Literature, Contemporary Poets, Contemporary Novelists, Postmodern Fiction, Webster's Dictionary of American Writers, Baker's Biographical Dictionary of Musicians, Directory of American Scholars, Who's Who in America</i>, <a href="http://nndb.com/">NNDB.com</a>, <a href="http://wikipedia.com/">Wikipedia.com</a>, and <a href="http://britannica.com/">Britannica.com</a>, among other distinguished directories. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><i>The painting of Richard Kostelanetz (right) is by Leonid Drozer.</i></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Mr. Kostelanetz </span><span style="font-family: Arial;">shares the following:</span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">ENGLISH-CENTERED WRITING:<o:p></o:p></span></b></div>
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<span style="font-family: Arial;">In a recent series of
books at the nexus of literature and book-art, mostly available from Archae
Editions on CreateSpace (Amazon) unless otherwise noted, I explore certain
qualities in my native tongue.<o:p></o:p></span></div>
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<i><span style="font-family: Arial;">Ambiguities</span></i><span style="font-family: Arial;"> (2014) are sentences that have at least two
decidedly different meanings.<o:p></o:p></span></div>
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<i><span style="font-family: Arial;">Cunning Commas</span></i><span style="font-family: Arial;"> (forthcoming) has two (and sometimes three)
sentences of the same words made different through the addition of commas and
other punctuation marks.<o:p></o:p></span></div>
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<i><span style="font-family: Arial;">Cunts after J Updike</span></i><span style="font-family: Arial;"> (2013) collects with highly imaginative typography
over one hundred synonyms for the female sexual organ.<o:p></o:p></span></div>
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<i><span style="font-family: Arial;">Curious/English</span></i><span style="font-family: Arial;"> (2013) likewise present continuously on opposing
pages English words with those different contrasting qualities.<o:p></o:p></span></div>
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<i><span style="font-family: Arial;">Double Doubles</span></i><span style="font-family: Arial;"> (2013) contains very short sentences in which at
least one pair of words has different meanings.<o:p></o:p></span></div>
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<i><span style="font-family: Arial;">English English</span></i><span style="font-family: Arial;"> (forthcoming) explores the same variation through
duplication of a single loaded word in longer sentences.<o:p></o:p></span></div>
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<i><span style="font-family: Arial;">English, Incredible
English</span></i><span style="font-family: Arial;"> (2013) collects in fourteen
thick volumes over 7,000 English words, stylishly printed alphabetically one to
a page.<o:p></o:p></span></div>
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<i><span style="font-family: Arial;">Filling Holes</span></i><span style="font-family: Arial;"> (forthcoming) depend upon presenting on one page two
collections of letters that are separated by a space that, on the next page, is
filled with a letter that connects its parts to make a single English word.<o:p></o:p></span></div>
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<i><span style="font-family: Arial;">Forth&Back&</span></i><span style="font-family: Arial;"> (2013) consist of pairs of words, printed on both
sides of a single page, each pair in a typeface unique to itself, that can be
read in either direction.<o:p></o:p></span></div>
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<i><span style="font-family: Arial;">Fucks</span></i><span style="font-family: Arial;"> (2014) explores various meanings for notorious word.<o:p></o:p></span></div>
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<i><span style="font-family: Arial;">Ghosts</span></i><span style="font-family: Arial;"> (Unicorn, 2006) depend upon discovering within the
letters of a single word another shorter words that critically relates to its
host.<o:p></o:p></span></div>
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<i><span style="font-family: Arial;">Grammatolatries </span></i><span style="font-family: Arial;">(2014) has absurd sentences set in an archaic
typeface reminiscent of newspaper headlines.<o:p></o:p></span></div>
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<i><span style="font-family: Arial;">Homographies</span></i><span style="font-family: Arial;"> (2013) are short sentences containing certain
English words used in two different ways.<o:p></o:p></span></div>
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<i><span style="font-family: Arial;">Homophones</span></i><span style="font-family: Arial;"> (2013) makes micro fictions wholly of English words
that sound alike.<o:p></o:p></span></div>
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<i><span style="font-family: Arial;">Incongruities</span></i><span style="font-family: Arial;"> (2014) has English sentences with internal
contradictions.<o:p></o:p></span></div>
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<i><span style="font-family: Arial;">Loveliest/Ugliest
English</span></i><span style="font-family: Arial;"> (2013) present continuously
on opposing pages with consistently different typefaces English words with
those contrasting qualities.<o:p></o:p></span></div>
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<i><span style="font-family: Arial;">Mirrors </span></i><span style="font-family: Arial;">(forthcoming) consists of English words that
duplicate around a central axis (e.g., racecar).<o:p></o:p></span></div>
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<i><span style="font-family: Arial;">One-Letter Changes</span></i><span style="font-family: Arial;"> (2013) makes narratives from two English words whose
successor differs from its predecessor by only one letter.<o:p></o:p></span></div>
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<i><span style="font-family: Arial;">Ouroboros</span></i><span style="font-family: Arial;"> (forthcoming) are English words which, when typeset
in a circle, suggest other words.<o:p></o:p></span></div>
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<i><span style="font-family: Arial;">OuroboroStories </span></i><span style="font-family: Arial;">(forthcoming) makes of such circles continuous
narratives.<o:p></o:p></span></div>
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<i><span style="font-family: Arial;">Recircuits</span></i><span style="font-family: Arial;"> (NY Quarterly, 2009) are handwritten sequences of
English words whose semantic changes with the addition of a single letter.<o:p></o:p></span></div>
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<i><span style="font-family: Arial;">Roundelays </span></i><span style="font-family: Arial;">(forthcoming) composes rectangles from the same
letters that, in different sequences, produce different words.<o:p></o:p></span></div>
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<i><span style="font-family: Arial;">Shifting Sounds </span></i><span style="font-family: Arial;">(2014) has sentences in which the same spellings are
pronounced differently.<o:p></o:p></span></div>
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<i><span style="font-family: Arial;">Squares</span></i><span style="font-family: Arial;"> (2013) finds, from reordering consecutively the
letters of an English word in successive lines, the presence of other words.<o:p></o:p></span></div>
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<i><span style="font-family: Arial;">Three Poems</span></i><span style="font-family: Arial;"> (NY Quarterly, 2011) has three sections. “Bassaskenglish”
contains English words whose letters are reordered to suggest other meanings. “Monopoems”
has individual words weighty enough to attain poetic resonance simply by
standing by themselves. “Coming(s) Together” takes apart whole English
words to reveal other English words with different meanings.<o:p></o:p></span></div>
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<i><span style="font-family: Arial;">Three- &
Two-Letter Texts</span></i><span style="font-family: Arial;"> (2013) collects
very short English words.<o:p></o:p></span></div>
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<i><span style="font-family: Arial;">Tri/ni/ties</span></i><span style="font-family: Arial;"> (2013) has over 130 words divided into three parts
that are set in triangles where the top of the words face a center, bound back
to back with a few <i>Quad/ri/ni/ties</i>.<o:p></o:p></span></div>
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<i><span style="font-family: Arial;">Triangles</span></i><span style="font-family: Arial;"> (2013), bound back to back with <i>Squares</i>,
explores a more severe constraint both vertically and horizontally.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Perhaps certain other
earlier books of mine, as well as certain collections in progress, belong on
this list. I’m not aware of anyone else producing other books like any of them.<o:p></o:p></span></div>
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<span style="font-family: Arial;">So unique to English are
these texts that none of them can be translated into another. Some I would
classify as Poetry because they realize a concentration of effect within a
highly constraining form; others are Essays for defining qualities unique to
English. All exemplify the principle, important to me, of radical formalism.
All sit on the nexus of Literature and Book Art.<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">--Richard Kostelanetz<o:p></o:p></span></i></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6402553457627092875.post-45043281769026456902014-04-08T15:49:00.000-07:002014-04-13T16:50:03.602-07:00RICHARD KOSTELANETZ (2)<span style="font-family: Arial, Helvetica, sans-serif;"><i><b>Tabula Rasa: A Novel</b></i></span><br />
<span style="background-color: white; line-height: 18px;"><span style="font-family: Arial, Helvetica, sans-serif;">(Archae Editions, Ridgewood-Soho, New York, 1978)</span></span><br />
<span style="background-color: white; line-height: 18px;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span>
<span style="background-color: white; line-height: 18px;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span>
<span style="background-color: white; line-height: 18px;"><span style="font-family: Arial, Helvetica, sans-serif;"><b>About the Project:</b></span></span><br />
<span style="background-color: white; line-height: 18px;"><span style="font-family: Arial, Helvetica, sans-serif;"><i>Tabula Rasa</i> is </span></span><span style="background-color: white; line-height: 18px;"><span style="font-family: Arial, Helvetica, sans-serif;">eight inches square, the latter four inches square. Each has a printed cover and spine, a title page, and then a single page with contextual information. As all the remaining pages in both books were pristine white, this encasing framing suggests conceptually that the blank pages must contain a narrative. More information about the project <b><a href="http://libraryofinvisible.blogspot.com/2014/04/richard-kostelanetz.html">HERE</a></b>.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGhDNxfhHp_ETofOJQL9hBeaU2EKRyOVn39GkndH_qw-uwBSWCH9NACLa6wiRoFyS9FTm9qYunEnlWTrA_YCUg84MGEq5aR95JfKj28ioVJDJe6DDwbKrX5ig1Y5hrIPJLUifpQ1ortQ/s1600/DroznerW:RKNAMECAPTION.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGhDNxfhHp_ETofOJQL9hBeaU2EKRyOVn39GkndH_qw-uwBSWCH9NACLa6wiRoFyS9FTm9qYunEnlWTrA_YCUg84MGEq5aR95JfKj28ioVJDJe6DDwbKrX5ig1Y5hrIPJLUifpQ1ortQ/s1600/DroznerW:RKNAMECAPTION.jpg" height="320" width="296" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;">Individual entries on Richard Kostelanetz’s work appear in various editions of <i>Readers Guide to Twentieth-Century Writers, Merriam-Webster Encyclopedia of Literature, Contemporary Poets, Contemporary Novelists, Postmodern Fiction, Webster's Dictionary of American Writers, Baker's Biographical Dictionary of Musicians, Directory of American Scholars, Who's Who in America</i>, <a href="http://nndb.com/">NNDB.com</a>, <a href="http://wikipedia.com/">Wikipedia.com</a>, and <a href="http://britannica.com/">Britannica.com</a>, among other distinguished directories. </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><i>The painting of Richard Kostelanetz (right) is by Leonid Drozer.</i></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;">More information about Richard Kostelanetz is available <b><a href="http://libraryofinvisible.blogspot.com/2014/04/richard-kostelanetz.html">HERE</a></b>.</span><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6402553457627092875.post-59581397962380100232014-04-08T14:50:00.000-07:002014-04-13T16:50:33.798-07:00RICHARD KOSTELANETZ (3)<span style="font-family: Arial, Helvetica, sans-serif;"><i><b>Inexistencies: Stories</b></i></span><br />
<span style="background-color: white; line-height: 18px;"><span style="font-family: Arial, Helvetica, sans-serif;">(Archae Editions, Ridgewood-Soho, New York, 1978)</span></span><br />
<span style="background-color: white; line-height: 18px;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span>
<span style="background-color: white; line-height: 18px;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span>
<span style="background-color: white; line-height: 18px;"><span style="font-family: Arial, Helvetica, sans-serif;"><b>About the Project:</b></span></span><br />
<span style="background-color: white; line-height: 18px;"><span style="font-family: Arial, Helvetica, sans-serif;">Each has a printed cover and spine, a title page, and then a single page with contextual information. As all the remaining pages in both books were pristine white, this encasing framing suggests conceptually that the blank pages must contain a narrative. More information about the project <b><a href="http://libraryofinvisible.blogspot.com/2014/04/richard-kostelanetz.html">HERE</a></b>.</span></span><br />
<span style="background-color: white; line-height: 18px;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span>
<span style="background-color: white; line-height: 18px;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGhDNxfhHp_ETofOJQL9hBeaU2EKRyOVn39GkndH_qw-uwBSWCH9NACLa6wiRoFyS9FTm9qYunEnlWTrA_YCUg84MGEq5aR95JfKj28ioVJDJe6DDwbKrX5ig1Y5hrIPJLUifpQ1ortQ/s1600/DroznerW:RKNAMECAPTION.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGhDNxfhHp_ETofOJQL9hBeaU2EKRyOVn39GkndH_qw-uwBSWCH9NACLa6wiRoFyS9FTm9qYunEnlWTrA_YCUg84MGEq5aR95JfKj28ioVJDJe6DDwbKrX5ig1Y5hrIPJLUifpQ1ortQ/s1600/DroznerW:RKNAMECAPTION.jpg" height="320" width="296" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;">Individual entries on Richard Kostelanetz’s work appear in various editions of <i>Readers Guide to Twentieth-Century Writers, Merriam-Webster Encyclopedia of Literature, Contemporary Poets, Contemporary Novelists, Postmodern Fiction, Webster's Dictionary of American Writers, Baker's Biographical Dictionary of Musicians, Directory of American Scholars, Who's Who in America</i>, <a href="http://nndb.com/">NNDB.com</a>, <a href="http://wikipedia.com/">Wikipedia.com</a>, and <a href="http://britannica.com/">Britannica.com</a>, among other distinguished directories. </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><i>The painting of Richard Kostelanetz (right) is by Leonid Drozer.</i></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;">More information about Richard Kostelanetz is available <b><a href="http://libraryofinvisible.blogspot.com/2014/04/richard-kostelanetz.html">HERE</a></b>.</span><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6402553457627092875.post-19989040030508980882014-04-08T13:54:00.000-07:002014-04-13T16:55:20.527-07:00RICHARD KOSTELANETZ (4)<span style="font-family: Arial, Helvetica, sans-serif;"><b>"Commissioner of Baseball for the British Isles," A Nomination</b></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>About the Project:</b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">"I've been trying to persuade a friend of mine, an American long resident in Britain, currently principal of a university, that he should accept my nomination that he be the first Commissioner of Baseball for the British Isles, even if no teams exist; but he doesn't get that he'd thereby be putting a frame around something than ought to exist, if only because someone in his position framed it, which he would head if it did exist, but for now his assuming such a title would be, of course, the epitome of Conceptual Art. Also less work."</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><i>--Richard Kostelanetz</i></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">More information about Mr. Kostelanetz's "framings" is available <b><a href="http://libraryofinvisible.blogspot.com/2014/04/richard-kostelanetz.html">HERE</a></b>.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGhDNxfhHp_ETofOJQL9hBeaU2EKRyOVn39GkndH_qw-uwBSWCH9NACLa6wiRoFyS9FTm9qYunEnlWTrA_YCUg84MGEq5aR95JfKj28ioVJDJe6DDwbKrX5ig1Y5hrIPJLUifpQ1ortQ/s1600/DroznerW:RKNAMECAPTION.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGhDNxfhHp_ETofOJQL9hBeaU2EKRyOVn39GkndH_qw-uwBSWCH9NACLa6wiRoFyS9FTm9qYunEnlWTrA_YCUg84MGEq5aR95JfKj28ioVJDJe6DDwbKrX5ig1Y5hrIPJLUifpQ1ortQ/s1600/DroznerW:RKNAMECAPTION.jpg" height="320" width="296" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;">Individual entries on Richard Kostelanetz’s work appear in various editions of <i>Readers Guide to Twentieth-Century Writers, Merriam-Webster Encyclopedia of Literature, Contemporary Poets, Contemporary Novelists, Postmodern Fiction, Webster's Dictionary of American Writers, Baker's Biographical Dictionary of Musicians, Directory of American Scholars, Who's Who in America</i>, <a href="http://nndb.com/">NNDB.com</a>, <a href="http://wikipedia.com/">Wikipedia.com</a>, and <a href="http://britannica.com/">Britannica.com</a>, among other distinguished directories. </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><i>The painting of Richard Kostelanetz (right) is by Leonid Drozer.</i></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;">More information about Richard Kostelanetz is available <b><a href="http://libraryofinvisible.blogspot.com/2014/04/richard-kostelanetz.html">HERE</a></b>.</span><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6402553457627092875.post-70326601322299315222014-04-08T11:45:00.000-07:002014-04-14T11:46:48.116-07:00RICHARD KOSTELANETZ (5)<span style="font-family: Arial, Helvetica, sans-serif;"><b><i>Absence Captioned</i></b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">(CreateSpace, 2014)</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR5OQALpdF_TRxMUg0WqDXNrgRUppQeMYJxdOl_JhBNiSEyT4gHs3vsmrsAIcLM9Netb9RW1pk_M1I_cHHSQy8OWzpNS_3fKy6ut1Erv7lHtNDWeZFU8ZUZ4Q0zYeqCMhWw1GiqByZyA/s1600/AbsenceCaptionedCover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR5OQALpdF_TRxMUg0WqDXNrgRUppQeMYJxdOl_JhBNiSEyT4gHs3vsmrsAIcLM9Netb9RW1pk_M1I_cHHSQy8OWzpNS_3fKy6ut1Erv7lHtNDWeZFU8ZUZ4Q0zYeqCMhWw1GiqByZyA/s1600/AbsenceCaptionedCover.jpg" height="400" width="247" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>About the Project:</b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">The project is self-explanatory, as exemplified by the three sample pages below. They also are part of Richard Kostelanetz's long-time work in "Inferential Art," about which more is explained <b><a href="http://libraryofinvisible.blogspot.com/2014/04/richard-kostelanetz.html">HERE</a></b>.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Individual entries on Richard Kostelanetz’s work appear in various editions of <i>Readers Guide to Twentieth-Century Writers, Merriam-Webster Encyclopedia of Literature, Contemporary Poets, Contemporary Novelists, Postmodern Fiction, Webster's Dictionary of American Writers, Baker's Biographical Dictionary of Musicians, Directory of American Scholars, Who's Who in America</i>, <a href="http://nndb.com/">NNDB.com</a>, <a href="http://wikipedia.com/">Wikipedia.com</a>, and <a href="http://britannica.com/">Britannica.com</a>, among other distinguished directories. </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><i>The painting of Richard Kostelanetz (right) is by Leonid Drozer.</i></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;">More information about Richard Kostelanetz is available <b><a href="http://libraryofinvisible.blogspot.com/2014/04/richard-kostelanetz.html">HERE</a></b>.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6402553457627092875.post-13542665909108086052014-04-08T08:31:00.000-07:002014-04-14T08:33:32.423-07:00VICTOR DINNERSTEIN<div class="MsoNormal">
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<span style="font-family: Arial, Helvetica, sans-serif;">(Price Stern Sloan, Los Angeles, 1968)</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Page 175</span><span style="font-family: Arial, Helvetica, sans-serif;"> (Dworkin)</span></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; line-height: 18px; text-decoration: underline;">Cited by John Bloomberg-Rissman from </span><b style="background-color: white; line-height: 18px;"><a href="http://libraryofinvisible.blogspot.com/2014/04/craig-dworkin.html" style="text-decoration: none;"><i>No Medium</i> by Craig Dworkin</a></b><span style="background-color: white; line-height: 18px; text-decoration: underline;"> (The MIT Press, Cambridge, MA, 2013).</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; line-height: 18px; text-decoration: underline;"><br /></span></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6402553457627092875.post-42424548323085239282014-04-07T22:54:00.000-07:002014-04-11T22:56:51.921-07:00JIRI VALOCH<div class="MsoNormal">
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About Nothing</i><span style="font-family: Arial, Helvetica, sans-serif;"> </span></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Jíří
Valoch's <i>Book About Nothing</i> has </span><span style="font-family: Arial, Helvetica, sans-serif;">55 pages, all blank (Dworkin, p.175).</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; line-height: 18px; text-decoration: underline;">Cited by John Bloomberg-Rissman from </span><b style="background-color: white; line-height: 18px;"><a href="http://libraryofinvisible.blogspot.com/2014/04/craig-dworkin.html" style="text-decoration: none;"><i>No Medium</i> by Craig Dworkin</a></b><span style="background-color: white; line-height: 18px; text-decoration: underline;"> (The MIT Press, Cambridge, MA, 2013)</span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; line-height: 18px; text-decoration: underline;"><br /></span></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6402553457627092875.post-5795590320987556112014-04-07T13:21:00.000-07:002014-04-10T13:24:37.672-07:00ARAM SAROYAN<div>
<span style="font-family: Arial, Helvetica, sans-serif;"><b>"ly"</b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">in </span><i style="font-family: Arial, Helvetica, sans-serif;">COMPLETE MINIMAL POEMS</i><span style="font-family: Arial, Helvetica, sans-serif;"> </span><span style="font-family: Arial, Helvetica, sans-serif;">by Aram Saroyan (2nd Edition), Edited by Aram Saroyan and James Hoff</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><i>(Ugly Duckling Presse / Primary Information, 2014)</i></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>Excerpt from forthcoming review by Eileen Tabios for <i><a href="http://galatearesurrects.blogspot.com/">Galatea Resurrects:</a></i></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The 2nd Edition of <i>COMPLETE MINIMAL POEMS</i> includes a Preface by Ron Silliman who chose the first edition for the 2008 William Carlos Williams Award from the Poetry Society of America. It’s a timely issuance since one can never experience enough pleasure from being reminded of Saroyan’s witty and charming concrete and minimalist poems. One of the highlights of </span><span style="font-family: Arial, Helvetica, sans-serif;">my read of Saroyan's 2nd edition is a poem with the word “ly” centered on the page four times as follows:</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFA4K4mTt_vRPC4bQegv_quUUYjY1JxHhuJIaq_u2p7PNWiEihvQAacvC_wnz14bhSAO5yD9Z8wo5yDertfqvYg61x0kgc21NA6zFMQs081dezbRweyZZ1Ek25iSoYB3Vx7GEutBqa1c0/s1600/S1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFA4K4mTt_vRPC4bQegv_quUUYjY1JxHhuJIaq_u2p7PNWiEihvQAacvC_wnz14bhSAO5yD9Z8wo5yDertfqvYg61x0kgc21NA6zFMQs081dezbRweyZZ1Ek25iSoYB3Vx7GEutBqa1c0/s1600/S1.JPG" height="400" width="300" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><i>(click on image to enlarge)</i></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">This simple “ly” is tiny on the otherwise blank page, but evokes the bulk of an entire dictionary—at least those words that can end in “ly”. Looking at this poem made me think of what are missing, what are invisible—the words that can possibly fit before “ly” such as <i>heavenly, ungainly, only, happily</i> … A look at the four examples that came swiftly to mind bespeaks the diversity of possibilities. And so “ly”, by remaining only “ly”, came to evoke/reference many more and more varied words than if the “ly” had been trapped into the singular word.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Entonces, there are four “ly”s on the page, as one can see. Well, the approach comes to place the emphasis on “ly”. My reading above surfaces the possibilities that can be appended to “ly”. But upon further consideration—and as encouraged by the four-time appearance of the two letters—my mind turned away from what are external to “ly” and focused only on “ly”. The ly-ness of “ly”, itself. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">This refocusing sight until one sees/understands more of what is being sighted speaks to the effectiveness of Saroyan’s poems.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><i>Meanwhile, for BIBLIOTHECA INVISIBILIS' purpose, I consider the "invisible" text to be those words that could have been appended to "ly"--whose presence are evoked but not actually written on the page.</i></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><i>--Eileen Tabios</i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja5DuspScIw70WNJMglKtCSBwbf4NmoID5pE5Z4q5C3Qt8U68RBE9NWxSXVIVBsigk9BhnLFdZ5pZRise25PI-zI-t3gYLbGUzOgyxfZ7KGfP9WRXH5uISf9ViVOIncd-wRUZ21dfqrw/s1600/SaroyanNew.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja5DuspScIw70WNJMglKtCSBwbf4NmoID5pE5Z4q5C3Qt8U68RBE9NWxSXVIVBsigk9BhnLFdZ5pZRise25PI-zI-t3gYLbGUzOgyxfZ7KGfP9WRXH5uISf9ViVOIncd-wRUZ21dfqrw/s1600/SaroyanNew.jpg" height="320" width="231" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><strong style="background-color: white; line-height: 19px; margin: 0px; outline: none; padding: 0px;">Aram Saroyan</strong><span style="background-color: white; line-height: 19px;"> is an internationally known poet, novelist, biographer, memoirist and playwright. Among his books of poetry are </span><em style="background-color: white; line-height: 19px; margin: 0px; outline: none; padding: 0px;">Aram Saroyan</em><span style="background-color: white; line-height: 19px;"> and </span><em style="background-color: white; line-height: 19px; margin: 0px; outline: none; padding: 0px;">Pages</em><span style="background-color: white; line-height: 19px;"> (both from Random House) and the collection, </span><em style="background-color: white; line-height: 19px; margin: 0px; outline: none; padding: 0px;">Day and Night: Bolinas Poems </em><span style="background-color: white; line-height: 19px;">(Black Sparrow, 1999). Saroyan is also the author of several books of prose, including </span><em style="background-color: white; line-height: 19px; margin: 0px; outline: none; padding: 0px;">Genesis Angels: The Saga of Lew Welch and the Beat Generation</em><span style="background-color: white; line-height: 19px;">;</span><em style="background-color: white; line-height: 19px; margin: 0px; outline: none; padding: 0px;">Last Rites</em><span style="background-color: white; line-height: 19px;"> (a book about the death of his father, the playwright and short story writer William Saroyan); </span><em style="background-color: white; line-height: 19px; margin: 0px; outline: none; padding: 0px;">Trio: The Intimate Friendship of Oona Chaplin/Carol Matthau/Gloria Vanderbilt</em><span style="background-color: white; line-height: 19px;">; </span><em style="background-color: white; line-height: 19px; margin: 0px; outline: none; padding: 0px;">The Romantic</em><span style="background-color: white; line-height: 19px;"> (a Los Angeles Times Book Review Critics' Choice selection); </span><em style="background-color: white; line-height: 19px; margin: 0px; outline: none; padding: 0px;">Friends in the World: The Education of a Writer</em><span style="background-color: white; line-height: 19px;"> (a memoir); and</span><em style="background-color: white; line-height: 19px; margin: 0px; outline: none; padding: 0px;">Rancho Mirage: An American Tragedy of Manners, Madness and Murder </em><span style="background-color: white; line-height: 19px;">(a true crime Literary Guild selection). The recipient of two National Endowment for the Arts poetry awards (one of them for his controversial one-word poem "lighght"), Saroyan is a past president of PEN USA West. From 1996-2011 he taught in the Master of Professional Writing Program at USC. He lives in Los Angeles with his wife, the painter and architectural historian Gailyn Saroyan. </span></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6402553457627092875.post-90129636108923491502014-04-07T11:12:00.000-07:002014-04-13T11:12:51.468-07:00bP NICHOL<div class="MsoNormal">
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<span style="font-family: Arial, Helvetica, sans-serif;">bp Nichol's <i>A Condensed History of</i> <i>Nothing</i> has </span><span style="font-family: Arial, Helvetica, sans-serif;">eight pages, all blank (Dworkin, p.175).</span></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; line-height: 18px; text-decoration: underline;">Cited by John Bloomberg-Rissman from </span><b style="background-color: white; line-height: 18px;"><a href="http://libraryofinvisible.blogspot.com/2014/04/craig-dworkin.html" style="text-decoration: none;"><i>No Medium</i> by Craig Dworkin</a></b><span style="background-color: white; line-height: 18px; text-decoration: underline;"> (The MIT Press, Cambridge, MA, 2013).</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; line-height: 18px; text-decoration: underline;"><br /></span></span><span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; line-height: 18px; text-decoration: underline;"><br /></span></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6402553457627092875.post-50734951405592043232014-04-06T18:58:00.000-07:002014-04-11T18:58:31.395-07:00CRAIG DWORKIN<b><i><a href="http://mitpress.mit.edu/authors/craig-dworkin"><span style="font-family: Arial, Helvetica, sans-serif;">No Medium</span></a></i></b><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><i>(The MIT Press, Cambridge, MA, 2013)</i></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><u>From the <b><a href="http://mitpress.mit.edu/books/no-medium">Publisher's Book Page</a></b>:</u></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #241f20; line-height: 21px;">In </span><em style="border: 0px; color: #241f20; line-height: 21px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">No Medium,</em><span style="color: #241f20; line-height: 21px;"> Craig Dworkin looks at works that are blank, erased, clear, or silent, writing critically and substantively about works for which there would seem to be not only nothing to see but nothing to say. Examined closely, these ostensibly contentless works of art, literature, and music point to a new understanding of media and the limits of the artistic object.</span><br style="color: #241f20; line-height: 21px;" /><span style="color: #241f20; line-height: 21px;"> </span><br style="color: #241f20; line-height: 21px;" /><span style="color: #241f20; line-height: 21px;">Dworkin considers works predicated on blank sheets of paper, from a fictional collection of poems in Jean Cocteau’s Orphée to the actual publication of a ream of typing paper as a book of poetry; he compares Robert Rauschenberg’s </span><em style="border: 0px; color: #241f20; line-height: 21px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Erased De Kooning Drawing</em><span style="color: #241f20; line-height: 21px;"> to the artist Nick Thurston’s erased copy of Maurice Blanchot’s </span><em style="border: 0px; color: #241f20; line-height: 21px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">The Space of Literature</em><span style="color: #241f20; line-height: 21px;"> (in which only Thurston’s marginalia were visible); and he scrutinizes the sexual politics of photographic representation and the implications of obscured or obliterated subjects of photographs. Reexamining the famous case of John Cage’s </span><em style="border: 0px; color: #241f20; line-height: 21px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">4’33</em><span style="color: #241f20; line-height: 21px;">”, Dworkin links Cage’s composition to Rauschenberg’s White Paintings, Ken Friedman’s Zen for Record (and Nam June Paik’s </span><em style="border: 0px; color: #241f20; line-height: 21px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Zen for Film</em><span style="color: #241f20; line-height: 21px;">), and other works, offering also a “guide to further listening” that surveys more than 100 scores and recordings of “silent” music.</span><br style="color: #241f20; line-height: 21px;" /><span style="color: #241f20; line-height: 21px;"> </span><br style="color: #241f20; line-height: 21px;" /><span style="color: #241f20; line-height: 21px;">Dworkin argues that we should understand media not as blank, base things but as social events, and that there is no medium, understood in isolation, but only and always a plurality of media: interpretive activities taking place in socially inscribed space.</span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #241f20; line-height: 21px;">Craig Dworkin, Professor in the English Department at the University of Utah, is the author of </span><em style="border: 0px; color: #241f20; line-height: 21px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Reading the Illegible</em><span style="color: #241f20; line-height: 21px;"> and the editor of several collections, including most recently</span><em style="border: 0px; color: #241f20; line-height: 21px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"> The Sound of Poetry/The Poetry of Sound</em><span style="color: #241f20; line-height: 21px;"> (with Marjorie Perloff) and </span><em style="border: 0px; color: #241f20; line-height: 21px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Language to Cover a Page: The Early Writings of Vito Acconci</em><span style="color: #241f20; line-height: 21px;"> (MIT Press).</span></span><br />
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<span style="color: #241f20; font-family: Georgia, serif; font-size: 15px; line-height: 21px;"><br /></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6402553457627092875.post-69880423085123695272014-04-05T19:08:00.000-07:002014-04-11T22:48:17.399-07:00JACQUES CEGESTE<!--[if gte mso 9]><xml>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>Poems</b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">in <i>Nudisme</i> </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">(Editions de Minuit?, ca. 1950) </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><u>Annotated by John Bloomberg-Rissman from <b><a href="http://libraryofinvisible.blogspot.com/2014/04/craig-dworkin.html"><i>No Medium</i> by Craig Dworkin</a></b> (The MIT Press, Cambridge, MA, 2013)</u></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Jacques Cégeste, poems, in the journal <i style="mso-bidi-font-style: normal;">Nudisme</i> (Paris?: Editions de Minuit?, ca. 1950) These poems, and
this journal, have only been seen on one known occasion; luckily that occasion
has been preserved on film.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">“In the opening scene of Jean Cocteau’s film <i style="mso-bidi-font-style: normal;">Orphée</i> (1950), amid the bustle of the
Café des Poètes, Orpheus is shown a copy of the journal in which the poems of
his new rival, the <i style="mso-bidi-font-style: normal;">enfant terrible</i>
Jacques Cégeste, were first published. [Orpheus says] ‘Je ne vois que de pages
blanches [I only see blank pages].’” (Craig Dworkin, <i style="mso-bidi-font-style: normal;">No Medium</i>, p.5). </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Dworkin notes that a later edition was created by
Jason Fulford and Tamara Shopsin, but he goes on to say that this edition is
not in fact an edition of Cégeste’s work, but, rather, “a reference [to it].”
(Dworkin, p. 11) See Dworkin for further ruminations on the work of Jacques
Cégeste, and the journal in which it appears. </span><o:p></o:p></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6402553457627092875.post-5052651595028772292014-04-01T12:08:00.000-07:002014-04-07T12:08:58.109-07:00LEMONODO (2)<span style="font-family: Arial, Helvetica, sans-serif;"><b><a href="https://archive.org/details/ErasedSpaced">ERASED SPACED</a></b></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">(Creative Commons, 2014)</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><i>“the white space must take up less space in Garamond”</i></span><span style="font-family: Arial, Helvetica, sans-serif;"><i>—Lemonodo</i></span></blockquote>
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<span style="font-family: Arial, Helvetica, sans-serif;"><i>Erased Spaced</i> consists of an erased (blank) cover and 218 blank pages. It's subject matter, according to the <b><a href="https://archive.org/details/ErasedSpaced">book site</a></b>, is </span><span style="font-family: Arial, Helvetica, sans-serif;">“erased, erased de kooning drawing, nothing, nuthin’.”</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>About the Cover Image:</b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><u>BEFORE</u></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW430Haiz-6_xB6jrYETfEWVpXsoIdcQn-OUyHovpH_HHMepeqkX7PX01I_ujD_9uiDeqtBEb-D-EuA7DyW7ipT3CVcWIDaWR3WOATVquMWQ2fbV9zDaBGG9cg3HeuJ8lfU_j87j_rRw/s1600/DSC_0016erased.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW430Haiz-6_xB6jrYETfEWVpXsoIdcQn-OUyHovpH_HHMepeqkX7PX01I_ujD_9uiDeqtBEb-D-EuA7DyW7ipT3CVcWIDaWR3WOATVquMWQ2fbV9zDaBGG9cg3HeuJ8lfU_j87j_rRw/s1600/DSC_0016erased.JPG" height="212" width="320" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><u>AFTER (FINAL)</u></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZD3MKBrnkPd-9zu7bgsl0F-BCrf2q5xlT00gssPiUWmHB4mT5kwmW_6KAsWjN4MX8Xv-TeuBC1fx6TZ_L4sJ0g_86aLMYfr-NIHTb_2iXA8bm4-W2ajrYCNMBqy3VCgOvh79axRG4lw/s1600/Cover.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZD3MKBrnkPd-9zu7bgsl0F-BCrf2q5xlT00gssPiUWmHB4mT5kwmW_6KAsWjN4MX8Xv-TeuBC1fx6TZ_L4sJ0g_86aLMYfr-NIHTb_2iXA8bm4-W2ajrYCNMBqy3VCgOvh79axRG4lw/s1600/Cover.JPG" height="212" width="320" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><i>(shows up as grayish here; it's white on the book site)</i></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The cover illustration is very interesting. I previously selected an image by <b><a href="http://web.kottke.org/photos/londonfaces0105/index_3.html">Jason Kottke of an "erased" sculpture in the British Museum in London</a></b>. I switched to an image of my own as I felt Kottke wouldn't take an interest in <i>Erased</i>. My image, shows how a house is slowly being erased from memory by way of being boarded up and allowed to rot. It has been boarded up for 30 years, and generally older houses like this are demolished once they're vandalized. My particular town (on a peninsula near San Francisco) is noted for its past as an artist's colony and beach cottages. Nobody builds beach cottages any more, and the idea there is an artist's colony here is equally laughable. A typical house here is big, complicated and costs a million dollars. I produce the original image here that I selected and will write for permission to use it, but if permission isn't forthcoming, I am pleased enough with this somewhat original visual take on "erased," and it also has the advantage of not belonging to a notable figure.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>About the Interior Pages:</b></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;">In <i>Erased</i>, I make four search-engine searches for things on erased themes, in each case the maximum number before they don't show any more results to me. I scrape these entire results minus hyperlinks for their lexical interest. The <i>Erased Erased</i> version, while an irrevocable transformation that renders the results and lexical interest null, nevertheless retains some of the fascination. The oral reader on <a href="http://archive.org/">archive.org</a> gives you an idea what Erased sounds like. I'd say when I read it, the sound isn't quite as even. <i>Erased Erased</i> is notable for its silence, and the automated reader has an odd way to pronounce "www." There are 264 pages in <i>Erased</i> and only 218 in <i>Erased Erased</i>. To achieve the blank text, I used a regular expression find "." (the wildcard for any character), replace with a " " character. Thus the text was transformed to whitespace, and ended up being briefer at 218 pp than the original 264 pp. I didn't determine precisely why the number of pages is so dramatically different, but it seems to me the white space must take up less space in Garamond.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggkhZJImmep5sLCK-EyUkNNvZFGwbeYIfsCErh9Q5LDfQLGWbV8bkCdKmUvCM1bJKz8zg2bhyVH3qTkRsRbfhyphenhyphen1e0z_opI97TKF50en7R3sPF9pqpV8LblvQe5m_KsHA5WFKkkk2YjlA/s1600/Lemonodo.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggkhZJImmep5sLCK-EyUkNNvZFGwbeYIfsCErh9Q5LDfQLGWbV8bkCdKmUvCM1bJKz8zg2bhyVH3qTkRsRbfhyphenhyphen1e0z_opI97TKF50en7R3sPF9pqpV8LblvQe5m_KsHA5WFKkkk2YjlA/s1600/Lemonodo.jpg" height="400" width="400" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;">Lemonodo has little by way of curriculum vitae to mention despite being quite old enough by now. It was a surprise to win recognition for a sound poem written to celebrate the opening of Denise Fujiwara's dance production of Christian Bök's </span><u style="font-family: Arial, Helvetica, sans-serif;"><i>Eunoia</i></u><span style="font-family: Arial, Helvetica, sans-serif;"> in Toronto: </span><a href="http://blueceilingdancer.blogspot.ca/2014/03/drum-roll-pleasethe-fujiwara-poetry.html" style="font-family: Arial, Helvetica, sans-serif;">http://blueceilingdancer.blogspot.ca/2014/03/drum-roll-pleasethe-fujiwara-poetry.html</a><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br />This list of blogs offers some indication of Lemonodo as a writer:<br /><br /><a href="http://lemonodo.blogspot.com/" target="_blank">http://lemonodo.blogspot.com/</a><br /><a href="http://voidsmith.blogspot.com/" target="_blank">http://voidsmith.blogspot.com/</a><br /><a href="http://poami.blogspot.com/" target="_blank">http://poami.blogspot.com/</a><br /><a href="http://autopoet.blogspot.com/" target="_blank">http://autopoet.blogspot.com/</a></span><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6402553457627092875.post-73800555291713956112014-03-19T21:25:00.001-07:002014-03-27T09:49:21.486-07:00EILEEN R. TABIOS (3)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYV5Vq8iEIO-BceVSf3qUzovjFeTn6lqU3xM6aahbd_DDHsptX7_Rc8t_-as5BbHWNm2h9EJ4AqI5a07ZcMB-GM3CISqEKfiXwSL-Car66G6JD61AFSnQUWLDN68SssEnj9_2Qoe9YSA/s1600/photo.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYV5Vq8iEIO-BceVSf3qUzovjFeTn6lqU3xM6aahbd_DDHsptX7_Rc8t_-as5BbHWNm2h9EJ4AqI5a07ZcMB-GM3CISqEKfiXwSL-Car66G6JD61AFSnQUWLDN68SssEnj9_2Qoe9YSA/s1600/photo.JPG" height="240" width="320" /></a></div>
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<b><i><span style="font-family: Arial;">LET'S TALK ABOUT
YOU. WHAT DO YOU THINK ABOUT ME?</span></i></b><span style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";"><o:p></o:p></span></div>
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<span style="font-family: Arial;">32-page chap</span><span style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";"><o:p></o:p></span></div>
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<span style="font-family: Arial;">(Self-published, 2012, Out of print)</span><span style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";"><o:p></o:p></span><br />
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><i><span style="font-family: Arial;">LET'S REALLY TALK
ABOUT YOU. WHAT DO YOU REALLY THINK ABOUT ME?</span></i></b><span style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";"><o:p></o:p></span></div>
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<span style="font-family: Arial;">(Books Expanded, St. Helena, 2014)</span><br />
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<br /></div>
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<span style="font-family: Arial;">Eileen R. Tabios believes
that when a book is read, that book is also written anew based on reader
response. Thus, Ms. Tabios chose to radicalize the experience by having
the reader literally write the text on the pages of a blank book. Her
32-page chap, <i>LET'S TALK ABOUT YOU. WHAT DO YOU THINK ABOUT ME?</i>
swiftly sold out its 2-edition printing in 2012 (to the author and the author's mother). As that chap was
merely an excerpt of the entire work, Ms. Tabios released in 2014 the
comprehensive <i>LET'S REALLY TALK ABOUT YOU. WHAT DO YOU REALLY THINK
ABOUT ME?</i></span><span style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS";"><o:p></o:p></span></div>
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<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUKULOr0ar9q_ChyphenhyphenmFCe0LQIxxEMSQih_mLIMS0KeiLGHa5PgwaHvkgFqLjRNvxYJ9ANpjNNmfg53br41sdRbQ2WNfw_3OaVZ_CpzNfKH5F1HRPAylVOeYy5H9JioY0TErx8Vfd-SV2g/s1600/Author+1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: black; font-family: Arial, Helvetica, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUKULOr0ar9q_ChyphenhyphenmFCe0LQIxxEMSQih_mLIMS0KeiLGHa5PgwaHvkgFqLjRNvxYJ9ANpjNNmfg53br41sdRbQ2WNfw_3OaVZ_CpzNfKH5F1HRPAylVOeYy5H9JioY0TErx8Vfd-SV2g/s1600/Author+1.jpg" height="200" width="150" /></span></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;">Eileen R. Tabios loves books, and has released over 20 print,
four electronic and 1 CD poetry collections; an art essay collection; a
“collected novels” book; a poetry essay/interview anthology; a short
story collection; and an experimental aubotiography. Her most recent book is <i><a href="http://gradientbooks.blogspot.com/2014/03/eileen-r-tabios-147-million-orphans.html"><b>147 MILLION ORPHANS (MMXI-MML)</b></a></i>. Her next books will include <i>SUN STIGMATA: Sculpture Poems</i> <span lang="CS">(Marsh Hawk
Press, New York, 2014) and <i>POST ROMANCE</i>,
a collection of art-related essays. Her poems have been translated into eight
languages as well as Paintings, Video, Drawings, Visual Poetry, Mixed Media
Collages, Kali Martial Arts, Music, Modern Dance and Sculpture. She’s also edited, co-edited and/or
conceptualized ten anthologies of poetry, fiction and essays, the most recent of which is 2014's <i><a href="http://versestyphoonyolanda.blogspot.com/"><b>VERSES TYPHOON YOLANDA: A Storm of Filipino Poets</b></a></i> (a fundraising anthology for the survivors of Typhoon Haiyan). She blogs at <b><i><a href="http://eileenverbsbooks.blogspot.com/">EileenVerbsBooks</a></i>.</b> Last but not least, as a youngster she was a volunteer worker at her elementary school's library. </span></span><br />
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