Seen of the Crime: essays on conceptual writing [PDF] is now online through ubuweb (and thank you so much to Snare Books for the original edition):
Archives for posts with tag: ubuweb
UbuWeb began as an online repository for concrete and visual poetry scanned from aging anthologies and re-imagined as back-lit transmissions from a potential future. As the archive has progressed, the concentration on visual poetry has waned in favour of an reconnoitering of diverse avant-gardes. UbuWeb’s Visual Poetry section exposes little-seen exemplars of historical praxis and models of contemporary insight to a wider audience. This section includes anthologies, ephemeral publications, criticism and sporadic journals dedicated to visual poetry. Due to the elusive and ephemeral nature of concrete and visual poetry publications, there is a perceived lack of innovation in the genre. Without exposure to radical practice, artistic precedent and innovative models, concrete poets too often fall back upon familiar tropes and unchallenging forms. UbuWeb’s Visual Poetry section is not presented under the rubric of historical coverage or indexical completeness, but rather as a document of isolate moments of what Haroldo de Campos argued was a “notion of literature not as craftsmanship but [...] as an industrial prcoess” where the poem is a “prototype” rather than the “typical handiwork of artistic artistry.” — derek beaulieu
The selection at UBUWEB: VISUAL POETRY has just grown with the addition of new and historical work by Shaunt Basmajian, Bob Cobbing, Michael Jacobson, Cecilie Jordheim, Louis Luthi, Robert Majzels, Heidi Neilson, Barbara O’Connelly, ottar ormstad, Carl Fredrik Reutersward, Luigi Serafini and Nico Vassilakis. Also included is a brief selection of work by bpNichol, an overview of Martin Vaughn-James’ visual narratives and a 1966 anthology which juxtaposes Marshall McLuhan’s work next to avant-garde practitioners.
UBUWEB began as an online repository for concrete and visual poetry scanned from aging anthologies and re-imagined as back-lit transmissions from a potential future. As the archive has progressed, the concentration on visual poetry has waned in favour of an reconnoitering of diverse avant-gardes.
UBUWEB: VISUAL POETRY exposes little-seen exemplars of historical praxis and models of contemporary insight to a wider audience. This section includes anthologies, ephemeral publications, criticism and sporadic journals dedicated to visual poetry. Due to the elusive and ephemeral nature of concrete and visual poetry publications, there is a perceived lack of innovation in the genre. Without exposure to radical practice, artistic precedent and innovative models, concrete poets too often fall back upon familiar tropes and unchallenging forms.
UBUWEB: VISUAL POETRY is not presented under the rubric of historical coverage or indexical completeness, but rather as a document of isloate moments of what Haroldo de Campos argued was a “notion of literature not as craftsmanship but [...] as an industrial prcoess” where the poem is a “prototype” rather than the “typical handiwork of artistic artistry.”
– derek beaulieu, curator.
