“Tin Soldiers” — one of my typewriter concrete poems, animated by Arn McBay

download Michiel Koelink, Jon Ståle Ritland and David Jonas’s 3DPoetryEditor & write in virtual space.

Mallarme’s “Un Coup de Des” (here in English translation by Robert Bononno and Jeff Clarke from the 2015 Wave books edition) is a foundational text for the exploration of page design, typography & type size and the tension of varied directions in reading. Using 3DPoetryEditor , I have tossed Mallarme’s poem in to the tempest of stormy digital waves, the lines of the poem left to eddy and crash against each other, creating a whirling tension of recombinant text.

Why is regular poetry so safe, and what is experimental poetry going to do about it? This week it’s all about visual poetry on No Good Poetry‘s Podcast, so make sure to follow the show notes and see what we are talking about. We are joined by Derek Beaulieu, visual poet and curator of the visual poetry section on UbuWeb. 

CBC Radio Calgary includes my entreaties to students in “so what’s your spiel?18555960_10158700879445704_1402173398318773445_n.jpeg

 

NEW FROM NO PRESS:

twelve aphorisms.

12 leaflets by Charles Bernstein, Christian Bök, Teresa Carmody, Craig Dworkin, Daniel Levin Becker, Nick Montfort, George Murray, Vanessa Place, Danny Snelson, Moez Surani, Hugo Vernier (as selected by derek beaulieu), Ludwig Wittgenstein (as selected by Marjorie Perloff).

Limited edition of 40 copies, distributed exclusively at Miss Read 2017, Berlin, Germany.

NOW AVAILABLE FOR PRE-ORDER!

Derek Beaulieu’s a, A Novel is an erasure-based translative response to Andy Warhol’s eponymous novel. Beaulieu carefully erases all of the text on each page of the original work, leaving only the punctuation marks, typists’ insertions and onomatopoeic words. The resultant text is a novelistic ballet mécanique, a visual orchestration of the traffic signals and street noise of 1960’s New York City. This
visually powerful half score/half novel highlights the musicality of non-narrative sounds embedded within conversation.

Published in the autumn of 1968, Andy Warhol’s a, A Novel consists solely of the transcribed conversations of Factory denizen Ondine (Robert Olivo). Ondine’s amphetamine-addled conversations were captured on audiotape as he haunted the Factory, hailed cabs to late-night parties and traded gossip with Warhol and his coterie. The tapes were transcribed by a small group of high school students. Rife with typographic errors, censored sections, and a chorus of voices, the 451 pages of transcription became, unedited, “a new kind of pop artefact”. These pages emphasize transcription over narration, chance over composition.

In his book, Derek Beaulieu offers a radical displacement of Andy Warhol’s work. He erases the novel’s speaking characters — members  of the mid-1960s New York avant-garde — and preserves only the musicality of their conversations. Beaulieu perfectly provides a tangible example of Theodor Adorno’s theory elaborated in his essay “Punctuation Marks” (1956), in which he argues that punctuation marks are the “traffic signals” of literature and that there is “no element in which language resembles music more than in the punctuation marks”. This visual poetry is accompanied by an essay by Gilda Williams, “Breaking Up is Hard to Do. Men, Women, and Punctuation in Warhol’s Novel a”. Her deep knowledge of both Andy Warhol’s work and the history of contemporary art explores the complicated history of the original novel and highlights the urgent and precise spirit of Derek Beaulieu’s work—the work of an artist who situates Uncreative Writing at the core of contemporary literature and also shows in his book a feminist gesture.

Commissioned by Jean Boîte Editions, a, A Novel is an unseen project that explores the most contemporary forms of Uncreative Writing in an impressive set of 451 pages of visual poetry. a, A Novel is the first book by Derek Beaulieu published in France.

Was very excited to be part of the final dinner in the Making Treaty 7 Common Ground Dinner Series last night. Making Treaty 7 explores the historical significance of the events at Blackfoot Crossing in 1877, while investigating the consequences and implications of Treaty 7, 140 years later. Over a fabulous meal at the Tsuu T’ina Nation’s Grey Eagle Restaurant we discussed the artistic and cultural implications of Treaty 7 and how we perceive the land.

At the dinner I premiered my artistic response to Making Treaty 7:

For the creation of Seven Approximate Circles, the seven participants in the “Safety & Security” discussion group of the Common Ground Dinner Series were asked to bring a small pebble from “home” (however they defined the word). I then traced each pebble once with ink diluted in the water of Calgary’s Bow River (and applied with a horse hair brush) and six additional times with graphite – 7 tracings per pebble. Echoing the treaty number of the Calgary region (Treaty 7), the 7 sacred teachings and the changing vision of home; Seven Approximate Circles leaves their gestures open, searching for closure; lines bent in healing discussion.

 

 

 

 

 

 

 

 

This final dinner also included work by a number of artists, including an installation by Tamara Cardinal on the crest behind Grey Eagle

 

Coming soon from Malmo, Sweden’s Timglaset press:

Arnold McBay has animated the entirety of my Flatland into a single animated GIF