My search, at first, was arbitrary. It never led me to anything that I enjoyed effusively; maybe I might have enjoyed something, but only ironically. So I started looking for names that were non-Western, particularly Asian names. I wanted to read/see/hear their perspective on poetry and poetics. And because I am a very visual person, as most art students are, I gravitated towards the genres of film, visual poetry, and even dance. Here are my favorites in no particular order.
Bojangles of Harlem from Swing Time, 1936. Fred Astaire, 1899-1987.
(http://www.ubu.com/film/astaire_bojangles.html)
I’ve always had a love for dance. As a child, I used to put on my Sunday shoes because the heels made the most noise on tile, and I would attempt to tap dance in the foyer because it was the only place in the house that wasn’t covered in vinyl or carpet. I enjoyed the sound my feet made. And I was surprised, but extremely delighted to see Fred Astaire on this site. At the time of its release, I imagine it was celebrated as an amazing performance and awesome spectacle with the way he used shadows. But watching it
today, there is a bit of unease in seeing such a respected artist made up in black-face and giving one of his best performances. I imagine that is the reason why this performance is part of the Ubu collection since his other works aren’t listed, nor do I see Sinatra or Ginger Rogers. It’s also interesting that Ubu does not mention the cultural impact of black-face but mentions instead, the use of camera tricks. However, this is a “homage to Bill “Bojangles” Robinson,” but there is a 2011 NYT’s article by Alastair
Macauly that poses the question: Tribute or Caricature? What I like about the video’s presence on Ubu is that it hints on the topic but celebrates the artistry, almost diplomatically.
Cusive, 2001. Lin Hwai-min, b. 1947.
(http://www.ubu.com/dance/hwai_cursive.html)
I still love dance and have since learned to appreciate the shapes that bodies made when they dance, separate from the sound their feet may make, sometimes avoiding sound. Dancers can leap in the air and land softly. That is a mark of true skill and technique. This is captured by Lin in her 60-minute ode to Chinese calligraphy, collaborating with the Cloud Gate Dance Theatre of Taiwan. Using Tai Chi and
martial arts, the dancers draw these beautiful images with their bodies, like waves leaning against the wind. There are moments when the dancers move like the strokes of a Chinese character in the background. While I thought it was unnecessary to blatantly explain to the viewer the purpose of the piece, it was still beautifully done. In fact, it may have been Lin’s intention to have the calligraphy mimic the dancers and not the other way around.
comes sabotag, 2000. Takayuki Nakano.
(http://www.ubu.com/sound/nakano.html)
What a strange disambiguation of language. Sometimes I thought I heard English, sometimes maybe Japanese, other times perhaps German. And it was clear after about 10 minutes in, that Nakano’s focuswas in the sound created by the human voice or mouth, throat, and tongue, and not the language created by sound. He may have even been reading or citing his words in reverse. I should have become difficult for me to listen to, but I received it with a sense of whimsy. Ubu has little to say about the artist, and I couldn’t find anything past a superficial web search of his/her name which only led to other instances of this recording. However, it was interesting to find a sort of track listing: bad cramp (6:13)
dreams of yore (3:19) ffrench (7:22) how weak we are (4:00) vivid girl (6:50) hello, Hibernia! (7:38) oncontinent Eringrowback (9:13) you my pledge (3:52), which further confirms my suspicions of the intent of this piece. The work and the artist still remain a mystery to me but it adds to my enjoyment, this feeling of anonymity nearly. I’m still not certain if I enjoy this with irony or sincerity.
The Cosmic Chef: An Evening of Concrete, 1970. bpNichol, ed & multiple artists.
(http://www.ubu.com/vp/Cosmic_Chef.html)
What a great sense of humor along with an eye for design. There is a wise use of space on the page,and the pacing from one page to the next is harmonious. At first, I thought I enjoyed the drawings more, but the more often I view it, the more appreciative I am of the typographical works. They remind me of the Gestalt exercises that I used to whine about having to do but now enjoy immensely.
Eunoia: Chaper e (for rené crevel). Christian Bök. (http://www.ubu.com/contemp/bok/eunoia_final.html)
I made an audible “Oooooo” when I first came across this work. It’s the only one in which I encountered the use of flash animation. The effect of overlapping and crossfading typography with the movement andinteractivity—it could only have been achieved in this digital manner, and I applaud the craftsmanship of Brian Kim Stefan’s technical work. Bök’s artistry does not go unnoticed though. His ability to write comprehendible sentences, although silly or immaterial, while still being able to paint with typography,
particularly the letter “e”, is admirable.
The Dreamlife of Letters. Brian Kim Stefans.
(http://www.ubu.com/contemp/stefans/dream/index.html)
After seeing Stefans’ work in Eunola, I was excited to preview some of his other works. As a pracitioner and student of the Motion Graphics field, this one resonated with me immediately. It is a really enjoyable format to experience the poem. He uses the letterforms very beautifully and economically and applies a very seasoned or gifted sense of motion and space (X, Y, & Z). I had a bit of a graphic-designer-orgasm.
One Letter At A Time Pieces. Brian Kim Stefans.
(http://www.ubu.com/contemp/stefans/kluge/ubu_index.htm)
Stefans is quickly becoming one of my favorite artists. This series is a great example as to why. In this collection, he takes popular poems (Ginsberg’s Howl, Creeley’s I Know A Man) and separates eachcharacter, disembodying them from the words that were written. Every letter and punctation is there for only a split second, accompanied only by the sound of a typewriter key being pushed. It’s as if the viewis there with the author, scanning the page, letter by letter, as they write. If someone is familiar with the poem, it may be possible to follow along and “read.” But I think it’s better to experience it one letter at a time. It allows for this feeling of infinity to overtake the audience.
BOB BROWN: 1450–1950, 1928–29. Bob Brown, b. c1920.
(http://www.ubu.com/historical/brown/brown26.html)
Content-wise, it sounds like the rantings of a creative genius. Visually, it looks like the drawings of a creative genius. There’s this feeling of strong connection between youth and adulthood within this pages.Furthermore, it looks like the precedent for future graphical works, like Post-Modern designer Sagmeister. It’s entertaining and while it’s not that long, it is seemingly endless. The corresponding link
leads to one of my favorite spreads.
Part I, Compendio del Gran Volume de l'Arte del Ben Scrivere" Rome, 1566.
Giovanni Battista Palantino Sonetto.
I found this in the “Historical” section, and it reminded me of this children’s gameshow I used to watch on Nickelodeon. It’s clever and charming and provides some of the foundation for the graphical language we have today, particularly mobile text speech—emoticons, type-character drawings, etc.
Camp Printing, 1970. Rosmarie Waldrop.
(http://www.ubu.com/vp/Waldrop.html)
It’s similar to Bök’s and Stefans’ Eunola, just on paper. However, I might say that it’s more musical in it’s approach, not as random. There is control in what seems to be visual chaos, and I find it soothing. I dowonder if Waldrop used this poem by James Camp in mockery or in tribute. I could argue the latter considering how much I enjoyed it visually, but that may sting Camp more if the former was actually true.
Students in Casey Smith's spring seminar, "Poetics Off the Page" at the Corcoran College of Art + Design, compiled lists from the ubu.com archive and wrote brief entries. Our model was the collection of Top Ten choices chosen by various artists and writers on the ubu site. Most of the links work. We'll fix the ones that don't, and we'll also try to fix the funny spacing and typos. Enjoy.
Wednesday, April 2, 2014
Halsey
1. ZEROGLYPHICS - ADRIANO SPATOLA
Zeroglyphics
encompasses a vast array of visual compositions that overtly use the letterform
as formal elements.
The title implies that the letterform and its architecture are sacred,
and his “glyphs”
are somehow an ode or altar to the
letterform. They are composed in a format that just barely suggests the use of the letterform, yet
the reader immediately understands the compositions
as being comprised of symbols. The end result is an image that invites the
viewer to read, yet
denies him the possibility of decoding the text.
2. ALPHAMIRICON – BRIAN HENDERSON
Alphamericon uses
the letterform as a compositional element in visual poetry, yet most of them remain legible within the work.
Henderson’s poems serve to
elevate the letterform to a spiritual status;
he composes the letterforms in such a way that they read first as a circular
pattern similar to the
religious tradition of mandalas and icons, and second as legible symbols. What
he is describing is
the inextricable bond between religion and the written word, in that what is worshipped is not
only the concept of the deity/god/religious principle, but also the actual physical words that
are read by its followers.
3. TRANSFIGURATION – DAVID UU
Transfiguration
comments on the architecture of letterforms as objects. While one cannot help but try to read and interpret
the symbols used in the poem, the content of the work is much more about the structure
the letterform and unveiling the canons of typographic design that readers probably take for
granted. Because the average reader is not inclined to investigate the character of the design of the
letterforms they see, the poem serves to emphasize the formal and visual commonalities
between symbols that mean vastly different things and generate disparate sounds.
4. UNTITLED – PETE SPENCE
Spence’s Untitled utilizes
different types of letterforms and composes designs that leave the text legible
to the viewer, but it takes the meaning out of it by leaving a void in the
narrative. They are
compositionally arranged like tapestries or banners, which are inherently
legible forms of text,
yet they utilize letterforms to deconstruct the narrative.
5. MUTE SYNTAX – BRIAN DAVID JOHNSTON
Johnston’s Mute Syntax uses the
letterform as a pure compositional element in his poems. Where the title page
is designed very tightly and remains legible, the poems themselves are more
comparable to abstract expressionist paintings. The letters are deconstructed
to the barest linear strokes, yet are still immediately interpreted as parts of
text due to the visible serifs and our innate desire to read familiar symbols. The poems definitely follow
the canons of abstract western painting, yet add an extra layer of mystery
given they are made out of letterforms.
6. THE ALPHABET OF BLOOD – PIERRE COUPEY
Coupey designs his
poems in a way that is very reminiscent of the Russian deconstructivist manifestoes and posters from
the turn of the 20th century. Unlike posters and manifestoes, however, the poems straddle the
line between pure visual elements and legible poetry. Upon viewing them, the reader is able
to discern a few words or phrases, yet some are lost to the design of the piece.
Coupey’s work adheres to the
format of “form follows
function,” in that the layout of the design speaks to
the content of the work.
7. ALCOHOLALIA – ANDREE MOLOTIU
Alchololalia is a
compilation of various images that include representational drawings, non-objective forms, and
printed letterforms. The images appear to be mirrored in a kaleidoscope/Rorschach-like manner. Given
the title and symbolism within the work, the poems convey a sense of chaos and disorientation, similar
to the feeling of being intoxicated. The work as a series gets progressively less abstract as
the pages turn, and starts to involve more pictorial images, as well as legible, handwritten text.
The poems are very introspective and fluid.
8. TYPOGRAPHY OF THE PEROIOD – HEIDI NIELSON
Neilson’s Typography of the
Period is a close examination of a typographical element rarely investigated by the average
reader. Unlike the character of most letters, which vary greatly between different typefaces,
the period is almost always seen as a constant among letterforms. However, they are designed just as
meticulously as other characters in the alphabet. Neilson’s poem is also designed
similar to minimalist painting from the early 20th century, which helps the work double as visual art and
poetry.
9. TYPORTRAITS – KEVIN MCPHERSON ECKHOFF
It is not uncommon
to use letterforms to create images, and Eckhoff does just that. The images are composed of repeating
letterforms of the same size, creating images of various poets and artists. Upon closer
examination, the images are composed of text that is conceptually relevant to the life of the subject.
While often they are not complete,
cohesive sentences, they are made up
of words that definitely relate to the person pictured.
10. CLUSTER : A POME FOR CORRINE – HART BROUDY
Cluster is a set of
visual poems that utilize the typewriter to create images similar to abstract designs and Russian
deconstructivist painting. Broudy uses blocks of text, often composed of the same letter, and layers
them on top of one another. The end result is a layered effect similar to the very geometric paintings
and designs of turn-of-the-century Russia.
Shelly
Gertrude Stein-
Five Words in a Line(1930)
This
poem was chosen mainly because of the humor
I found with it. The title stated “Five words in a line” and I obviously
thought it would be a five worded poem, but then seeing the poem be the title
as well just kind of made me laugh. I thought it was interesting that it was
almost mocking certain ideas behind traditional writing. I thought that it was
a very funny, literal, and independent idea for a poem.This poem and the next
kind of tie together on my list because of the continuation of this notion of
poetry is happening.
Joseph Kosuth-
Five Words in Red Neon(1965)
Like
I stated before I was interested in this poem because it is so similar to my
first choice on the list by Gertrude Stein. This poem differs in the sense that
I thought it was visually beautiful. I believe that in comparison to the Stein
poem it is visually more beautiful than Stein’s but the concept of Stein’s poem
is stronger. After I read this poem I started to think on if Kosuth was
interested in Stein as an inspiration for this poem and if this was a reaction
to his piece seeing as Stein’s piece was made thirty five years prior to
Kosuth’s. I personally wouldn’t see myself making a poem in this form, but i
appreciate them both for the concept and the humor behind it.
Douglas
Huebler-Secrets
I
was very interested in this poem because of the interaction and experience you
got as a reader. Just from the title of the piece I was curious to see the
material and see what people would actually write as a secret. Maybe that’s
just human nature though. Wanting to know other peoples secrets and just having
curiosity in general. I see this piece more as a social experiment. The idea of
seeing if people will actually put a secret, or if they won’t. The interaction
of the piece is beautiful to me because of how many people were actually
willing to participate.
Howard Fried-The
Cheshire Cat, Part 1 (1972)
Within
recent time I have become very interested in list poetry and I think this poem
is really beautiful. Its this continuous list that is very fluid and just never
ends. I think the dates on the ends are really important because it gives it a
stability that the words in the list lack. Its this train of thought over the
passing of time. I envision this piece on a long scroll and just hung on a wall
while letting the scroll hit the ground and continue down the floor for
everyone to read.
John Baldessari-
“I will not make any more boring art”
I
relate to this piece a lot. I am constantly telling myself things like this
over and over again in this list form. The visual of it being written in a
journal form or hand written form also makes it more personal and appealing to
me. I think some would say that this is a boring piece of art because its just
the same thing repeated over and over again, but I think because it resembles a
train of thought its really just simple and beautiful.
Robert Barry- Art
Work (1970)
Like
in Baidessari’s piece I felt that this constant thought about art is very
connecting to me. It may not be in list form but its feels like one constant thought
and with that thought processes through, the longer it goes the more resolved
the idea feels. The longer you write the further and further do you get into
your head and you start to understand things better because you're starting to
write without thinking. Its all subconscious and thats how art should be.
Robert Barry- This
work has been and continues to be refined since 1969(1971)
This
is probably one of my favorite pieces on the list, but i found it later on
while searching the website. I think i’m connecting to these piece the most
because I find with my own work that if i constantly write just words on what
the art is then i can find out more about the art itself. This form of poetry
is really interesting to me because it not only talks about the idea behind the
piece but also helps the reader understand the writers thoughts and process of
understanding language.
Victor Burgin-
“Any Moment” (1970)
This
piece wasn’t my favorite, but I thought the way it was constructed was
interesting. The idea of playing with language and time together was inviting
to me. With each step and each second of time passing I became more aware of
the time and language together. I thought that it was successful in that way.
Vito Acconci-
Points for Motion
I
wasn’t really sure about this piece. I see it more as a study of lanugage
rather than a “poem”. I see why people would still see this as a poem, but I
personally would categorize it as a study of language, which can also be a
definition of poetry. And this piece is pushing that definition which just
makes it more interesting and pushes it outside that boundary of poetry. Which
now after writing and thinking about it makes me enjoy this piece more because
its made me ask questions and have a discussion about it which makes it
successful.
Taddea
Oscuro-(January,1968)
I
thought this piece had humor in it as well as playfulness. It pushes that
boundary in a similar way that Acconci does with his piece, and also introduces
humor with the fact that Oscuro is just making a statement about contemporary
poetry. It seems as if he is making a statement that all contemporary poetry is
similar. So by making a poem of just stating that he is pushing that beyond
what other contemporary poets write and also making a new face for contemporary
poetry.
Sam
http://www.ubu.com/historical/saroyan/pages/pages.html
http://www.ubu.com/ethno/poems/09.html
http://ubumexico.centro.org.mx/text/vp/piringer_gravity_2012.pdf
http://ubumexico.centro.org.mx/text/vp/fuck_you_a_magazine_of_the_arts_1.pdf
http://ubumexico.centro.org.mx/text/vp/parr_found_poems_1972.pdf
http://www.ubu.com/contemp/bernstein/veil2.html
http://ubumexico.centro.org.mx/text/vp/finch_typewriter_poems_1972.pdf
http://www.ubu.com/aspen/aspen6A/skyChange.html
http://epc.buffalo.edu/authors/goldsmith/goldsmith_winter.html
http://www.ubu.com/historical/becher/index.html
1. Adam Saroyan’s “Pages” is a great example of several
different types of contemporary or
“language” poetry. The poems address how type appears on
page, the one line poem, word
repetition and creating words such as “lobstee.” Saroyan is
conscious with how the arraignment
of words on the the page affects the context of what is
written. His poetry is not trying to be
anything more than what it is. In other words it is simply
conceived language typed on a page. !
!
2. Spring Fjord!
!!!!! after Paul Emil Victor, Pomes Eskimo!
I was out in my kayak!
I was out at sea in it!
I was paddling!
very gently in the fjord Ammassivik!
there was ice in the water!
and on the water a petrel!
turned his head this way that way!
didn't see me paddling!
Suddenly nothing but his tail!
then nothing!
He plunged but not for me:!
huge head upon the water!
great hairy seal!
giant head with giant eyes, moustache!
all shining and dripping!
and the seal came gently toward me!
Why didn't I harpoon him?!
was I sorry for him?!
was it the day, the spring day, the seal!
playing in the sun!
like me?!
!
This is the most “poetic” of the works I've chosen as it is
created largely on how it is using
language. Which in this case is used in a more traditional
poetic manner. However while it
retains a more traditional look and feel, it has a spoken
word quality that separates it. I am also
drawn to the poem became it includes a subtle the lesson
that can be gained from reading it. !
!
3. Gravity by Jorg Piringer !
!
I think this is visual poetry at its finest. Even attempting
to create any sort of sentence structure
is meaningless as far as I'm concerned, and in saying that,
I would not call this poetry. This is
visual art through the use of text, while it uses shape and
forum that is the same as our
alphabet, the final forum of the piece becomes something that
only vaguely resembles text and
poetry. !
!
4. “Fuck You/ A Magazine of the Arts” !
!
“Fuck You” is an example of what happens when you give
creative minds the freedom to be
brash and annoying without fear of any real consequence. The
zine created a space for how
this type of L=A=N=G=U=A=G=E poetry should be presented.
Words not assembled pristinely
on the page and bound neatly among other pages. Instead the
poems in “Fuck You” appear
temporary, as though the page could fall out of the magazine
and become lost forever. And that
would be okay. !
!
!
!. Found Poems !
-Malcolm Parr!
!
I am interested in “Found Poems” because it is proof of the
unlikely places where you can find
the beauty of language. Although sometimes it takes the mind
of another to shed light on it. It
also is similar if not the same as my interest in creating
poetics from overhead conversations. !
!
6. Charles Bernstein’s !
Veil #2!
!
Another example of visual poetry, Veil #2, a physical block
of text on the page, gives weight to
words in a way I haven’t seen before. The text block feels
as though it could fall through the
page. ! !
!
7. Type Writer Poems !
-Peter Finch !
!
A combination, if not the bringing together of two worlds. A
slice of concrete poetry combined
with visual poetry. While some entries at first appear to
have a pure visual poetry look, they can
still be deciphered or in other words, you can dig through
the form to find the poetry within. Type
Writer Poems expands the relationship with !
!
8. Aspen no.6A!
!
Specifically within this issue the piece entitled sky/change.
It reminds me very much of
“Grapefruit”, Instructions that can’t be followed out. It
makes me think about how text effects our
world. Why we obey some of it and ignore other parts. If you
someone could carry out the
instructions in “sky/change, would they. !
!
9.The Weather !
by Kenneth Goldsmith !
!
It is a rambling of thoughts. A typed out document of what
everyone listens to but immediately
forgets. Fragmentations of thought and sentences. It doesn't
try to look pleasing or even sound
beautiful. But at the same time “The Weather” makes
beautiful poetry out of something that we
talk about the most. !
!
!
10. Bernd & Hilla Becher !
Im including this in my list because I think most people
would question why it’s on a poetry
collection. It’s not visual poetry…well actually is it’s
just not poetry. The Becher’s took
photographs, they took photograph to show distinctive
similarity in structures. They then showed
theses similarities to people in other countries. From the
book- Our selections are obvious but it
has taken us many years to realize they are obvious. In the
end the form is the same, it proves
that language or poetry can be translated and twisted in
various forms. But it is not until you
view them all together that you see that they are the same.
!
Peter
[No links provided. Find them directly on ubu.com. -The Ed.]
David
Cammack | USA
Concrete
Poetry II (1965)
Max Bense, Germany
Max Bense, Germany
Concrete poetry is poetry that
it has shape, literally. The aesthetic has as much importance as the written
words because this draws from its linguist meaning. According to Max
Bense, the conventional linear distribution of text in the page is taken into
account, and the surface arrangement becomes just as important. For me it makes sense because text is not just
used as the pieces of a puzzle in order
to form an image, Instead it is coherent when is read, there are sentences
although it is contained into a shape.
People Like Us (2002)
Vicki Bennett
This video appears to me as a prophecy that
foreshadows the indispensable role of computers. One thing that also got my
attention was the way the video refers to motion graphics as a way of communicating,
even though back then motion graphics was a new technology. The video mentions that computers would not
only enable us to discover a lot quicker, but also to communicate what we
discover with the same quickness.
The Wooster Group
This video was quite
interesting because was the documentary of a group of performance artists,
which had a show that commented about the history of repression in the USA
over the past 30 years. The video at first seem very racist,
because there are all these white people that painted their skin black and are
performing very stereotypical scenarios.
In a way made me upset. Then couple minutes into the documentary one of
the artist explain that perhaps they wanted the viewers to be aware of the racism,
and in that position it could show us that we still have a bit of racism left
in ourselves. It all was an oxymoron but a well though-out one.
This
video is a soliloquy about the relationship of the art world and social media.
The video at point sounds like a protest that called the media to stop using
their names for the sake of making news. Interestingly enough the video also
explains how some artist attempt to reach a broader audience by making use of
the media. The narrator in the video mentions that some artists do this in
order to access the immediacy of the medias. Another oxymoron that show how
this two are bad for each other although they are almost forever intertwine.
There
were Dreams
Barbara O’Connely
This
was a chapbook I believe. The book features the figure of a women interacting
with a string of words and at sometimes struggling with this string. The words
read something about love. In the series of illustrations the whole idea of
having those words form part of the illustration makes it a bit easier to
understand, especially after having read the title.
Bob Dylan
vs A. J. Weberman (1971)
These
were recordings of two phone calls by A. J. Weberman to Bob Dylan. To hear this
celebrity really in a defensive but honestly concern voice made me it feel more
human to me. Dylan was not treating this person very politely but he was not
being pushy either. They were discussing what should end it up in an interview
Weberman had with Dylan. Dylan repeatedly cursed, but as one listen this were
words that were more part of his everyday diction more thatn his anger with
Waberman. He admitted mistakes he did while answering some question. But is
clear he did not want to be perceive as inconsiderate, so he said things “I shouldn’t
have say that” or “I don’t wan to
insinuate that”. Weberman had gotten and interview when Dylan did not know he
was being interviewed, so he at the beginning confused said “you want an
interview, I can give you a interview” I just think that recording is very
interesting.
New
American Radio
Don Joyce
(1944)
In
this recording of a radio show, the narrator explain that at that moment radio
is almost always and outlet for people to expose their work, thoughts, and
ideas. But rarely this takes the role of generator of ideas. Don Joyce here tries to turn the studio into an
instrument that generates new content. The result is a mix of sounds. In new American radio’s recording one hears
things such a short phrases, sound of the wind, movie scenes audio, music
beats, and a variety of other sounds that sampled sound of all sources. I
thought they were very experimental and avant-garde, in particular because was
during the 1940s; at a time when radio was a major player if not the biggest
among all the social medias.
Alex Bag
This
work is s series of videos, put together in a very really-show fashion. There
is this student that in a monolog talks about her time in Art school. In every
clip she start mentioning in what semester of school she is at. Then she goes
on in a sort of parody that is very satirical. She goes through all the stages
of a typical freshman but with a pretentious-teenager personality.
For
example in one part she goes like this:
“ I am
in my 4th semester in SVA. I just want to be in my studio and do
what I want… Is like I have all these ideas my head is going to explode… why do
I have to write all this paper-who cares about the French revolution, ahh! is totally
stupid, … It doesn’t apply to my work at all”
She
says the word like way too often, is kind of funny when she tries to explain
how art is trying to sell her popular culture back to her. Very fun to watch.
Paper
Tiger TV
In
this video in a talk show format a person explains how corporate visual media
is used to format a predetermined depiction of reality through the news in the
TV. He goes on about the way news
channels pretend they disseminate news in the best way for us to consume, when
in reality they just display it in the best way the see it fit, keeping a sort
of hidden agenda. Somewhat funny and at the somewhat true.
Poem 23
This work was under the contemporary section,
is a slideshow that has words that rime as if were an stanza from a short poem.
It seem like a cheap formula to a typical poem. It was a commentary on the idea
prominent idea of what poetry is, because continuously this words would change
but and some would stay but they would always rhyme, for instance these are
some of the words you would see in the scree:
-----------------
Room
Saloon
Perfume
Raccoon
-----------------
Axis of
Evil (2002)
This is another work under the same category,
this time is a program that let you type letter just by using your mouse. I believe
these letters are not in a particular sequence; they are rather being displayed
in the screen at random. To click away and form shapes with this random letters
reminded me of the idea of concrete poetry. You can just draw with letter.
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