Re: FLUXLIST: RE: Stopwords
On Tue, 26 Jun 2001, Kathy Forer wrote: > >Maybe in 20 > >years I will have gotten rid of all the words. > > Or you could have a wedding with flower girl, strewing words at the > betrothed, festooning the altar, tossing words at guests. This is great! I'd almost forgotten: http://bbrace.laughingsquid.net/bride.gif /:b
FLUXLIST: Call for Papers - FLUXUS
CALL FOR NO PAPERS == What is happening in the field of artistic creation is spreading to everyday life. Breaks in meaning, if only in the way we express our thoughts, cannot emerge; they are cut off by the modelization of interpretation which precedes them. This terrorism is founded on an infinite illusion, wherein all the different possible meanings of creation are the reflection of institutionalized speech. -- /:b
FLUXLIST: hollyhock seeds
Thanks to everyone who told me where to find hollyhock seeds on the plant! Never knew those "rings" existed full of seeds!
Re: FLUXLIST: Re: Stopwords
Oh, you're bcoming a fairy fulfilling everyones request. - Original Message - From: Heiko Recktenwald <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]> Sent: Tuesday, June 26, 2001 4:20 AM Subject: Re: FLUXLIST: Re: Stopwords > On Mon, 25 Jun 2001, m'lore wrote: > > > si, oui u. ja! > > Your wish is a command for me. _ Do You Yahoo!? Get your free @yahoo.com address at http://mail.yahoo.com
Re: FLUXLIST: RE: Stopwords
- Original Message - From: Heiko Recktenwald <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]> Sent: Tuesday, June 26, 2001 4:18 AM Subject: Re: FLUXLIST: RE: Stopwords > > Yes, please. Spanish and French and even German! > > Ok, here is also something in my own language. Thank you! Not dutch, but the language > of "poets and thinkers": I got to the point when I understood that everyone who counts was/is German > ab aber als am an auch auf aus > > bei beim bin bis bist > > da dadurch daher dann darum das dass daß dein deine dem den der deren des > deshalb die dies dieser dieses doch dort du durch > > ein eine einem einen einer eines er es euer eure euren > > für fuer > > haben hatte hatten hattest hattet hätte haette hätten hätten > hier hinten > > ich ihr ihre im in ist > > ja jede jedem jeden jeder jedes jener jenes jetzt > > kann kannst können könnt könnte konnte koennen koennte könnten koennten > > machen mein meine mit muss muß musst mußt muessen müssen muesst müßt > muesste müßte > > nach nachdem nein nicht noch nun > > oder > > seid sein seine seit sich sie sind soll sollen sollst sollt solltest > sonst soweit sowie > > und unser unsere unter über ueber > > vom von vor > > wann warum war waere wäre was weiter weitere welcher welcher > wenn wer werde werden werdet weshalb > wie wieder wieso wir wird wirst wo wurde > > zu zum zur zurück > > > > > _ Do You Yahoo!? Get your free @yahoo.com address at http://mail.yahoo.com
Re: FLUXLIST: RE: Stopwords
Thank you!! - Original Message - From: Heiko Recktenwald <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]> Sent: Tuesday, June 26, 2001 4:12 AM Subject: Re: FLUXLIST: RE: Stopwords > Ok, > > On Tue, 26 Jun 2001, Losonczi Júlia wrote: > > > Yes > > Here comes spanish, aybe tomorrow french ? > > Sorry, nothing from italy yet. > > Voila: > > a al ante atras asi aun aunque aqui alli > > bajo > > cabe con contra cada casi como cual cuales cualquiera cuando como cuanto cuantos > > de desde del demas donde > > en entre el este esta esto estos estas ese esa eso esos esas aquel aquella aquello aquellos aquellas ella ello ellos ellas etc > > hacia hasta > > la lo los las > > mas me mio mia mios mias mi mis > > no ni ningun ninguno ninguna nosotros nosotras nunca nuestro nuestra nuestros nuestras > > para por porque pero pues > > que quiza quizas > > segun si so sobre se sin sino suyo suyas sus > > tras tu te tal tales tambien tampoco tan tanto tantos tanta tantas tuyo tuyos tus > > un uno unos unas > > vosotros vosotras vuestro vuestra vuestros vuestras > > y yo ya _ Do You Yahoo!? Get your free @yahoo.com address at http://mail.yahoo.com
FLUXLIST: The victorian age: [germanic marsupial addendum]
[sic] trap poor [fehlerhaft automaton] Thy transgressions, great and small. [Vermin` derung] I wandered through each chartered street, [zerstruet`] Every blackening church appals, [menthol metaphysik] Has bereaved of their life. [lilliputa`ner milizen] craving wind attend each night [abhoren eideche nein ein marsupial] My emanation far within tempests [reiseroute kanguruh`] And with cold down palace-walls. [vermeid`lich junggeselle] Crown with wine wintry hail and rain. [bana`nen nicht auf marsupial] The mind-forged manacles Seven of my [es der frisch frucht] Their marble tombs I built youthful harlot's curse [der possum veri`ckein] Marks of weakness incessantly [klammern von der haupt wiesel] plagues the marriage-hearse scents [mangel leiden klarstellung] ME
FLUXLIST: RE: FLUXLIST-digest V1 #755
> Pedro et al: > Sorry to take so long to respond further to this matter - I've been on a > retreat (during which I took a field trip to the Sackner Archive of > Concrete and Visual Poetry in /Miami Beach) - but as to defining What > visual poetry is, that's a tough one. I tend to think of it as > anything in which there is a visual element to the work (that is, SEEING > it is part of the experience). That, however, could well include John, you have to SEE the text of a novel also. Of course your eye movements are rather restricted, but still... the most important thing about visual poetry for me, and this is quite subjective, is that it calls for a different kind of reading (reader). Alternative eye movements and page scanning are often required. One has to decide where to start and where to go next and how to scan the poem. Visual poetry often allows for multiple readings (and here we arrive at your ambiguity again though it is more a graphic ambiguity than a semantic one). What I found interesting was a recent post about your new book on the poetry list which called your poetry "concrete". Really? I mean the line by line oriented things are read like conventional poetry right to left etc. and your visual pieces with the repeated rubberstamp borders and the calligraphy don't seem to me to be particularly concrete. On the contrary they seem very abstract- not poetry where language-qua-language is presented for its own sake... > almost all poetry, so I think it also includes a quality of the work > which makes it in one way or another totemic and/or talismanic. > That is, its physical presence is part of the thing; it's not just > "abstract" like a purely linguistic artifact Could you define or make clear what you mean by a "linguistic artifact"? And "absract". So what you're saying is that in visual poetry language is treated as visual material for its own sake, i.e. it tends toward the concrete... > That's useful, yet doesn't cut much out. > It seems that most "non-visual poetry" could be experienced > aurally > and not visually without losing too much. > Would you agree with that? There is some visual poetry which is BOTH visual and aural but it is so difficult to do that it happens rarely. Since this is FLUXLIST I would like to point out that visual poetry is intermedia- the area between visual art and poetry in the same way that sound poetry is the intermedium between music and poetry and Alan Bowman's hexidecimal poems are the intermedium between computer programming and poetry. I find looking at visual poetry using Dick Higgins' poetry intermedia chart amazingly clarifying in an area which is theory and criticism-impoverished. RA Oh, apologies to John Held and his family and friends for "trashing" John in my last posting. --- Reed Altemus --- [EMAIL PROTECTED] --- EarthLink: It's your Internet.
FLUXLIST: call for papers on Fluxus
CFP - FLUXUS issue of Performance Research FLUXUS - Call for Papers - FLUXUS FLUXUS was an international community of artists, architects, designers, and composers described as "the most radical and experimental art movement of the 1960s." As a laboratory of experimental art, Fluxus was the first locus of intermedia, concept art, events, and video, and a central influence on performance art, arte povera, and mail art. 2002 will mark the 40th anniversary of the first Fluxus festival in Wiesbaden, Germany. The journal Performance Research will mark the occasion with a special issue. Guest editors Ken Friedman and Owen Smith will coordinate this issue. The editors will welcome proposals and complete papers on any topic or theme relevant to Fluxus, the Fluxus artists and composers, or their work. Themes "Fluxus is what Fluxus does -- but no one knows whodunit." Emmett Williams "Fluxus is not a moment in history, or an art movement. Fluxus is a way of doing things, a tradition, and a way of life and death." Dick Higgins As a large and somewhat diffuse phenomenon, there can be no single approach to Fluxus. The editors encourage a wide variety of topics, themes, and approaches. A list of possible topics includes: art practice in Fluxus, art theory in Fluxus, events, video, concept art and conceptual art, intermedia, performance, artist books and periodicals, cooperative housing, artist stamps, experimental film, Happenings, mail art, new music. A partial list of Fluxus artists and composers includes: Ay-O, Joseph Beuys, George Brecht, Phil Corner, Robert Filliou, Ken Friedman, Al Hansen, Geoffrey Hendricks, Dick Higgins, Bengt af Klintberg, Milan Knizak, Alison Knowles, Arthur Koepcke, Shigeko Kubota, George Maciunas, Jackson Mac Low, Larry Miller, Yoko Ono, Nam June Paik, Takako Saito, Mieko Shiomi, Ben Vautier, Wolf Vostell, Yoshimasa Wada, Robert Watts, Emmett Williams, and La Monte Young. Articles on other artists and themes are also welcome. Special theme: 2002 also marks 30 years since the 1972-73 Fluxshoe toured England with a series of performances, concerts, and exhibitions. This issue of Performance Research will particularly welcome contributions that focus on the historical and geographical activities centered on the Fluxshoe, together with considerations of how it influenced the British art of the years since. Overview Fluxus has been a laboratory characterized by George Maciunas's notion of the "learning machine." The Fluxus research program has been characterized by twelve ideas: globalism, the unity of art and life, intermedia, experimentalism, chance, playfulness, simplicity, implicativeness, exemplativism, specificity, presence in time and musicality. These ideas describe the qualities and issues that characterize the work of Fluxus. Each describes a "way of doing things." Together, these twelve ideas form a picture of what Fluxus is and does. The implications of these ideas have been interesting and occasionally startling. Fluxus has been a complex system of practices and relationships. As a forum of philosophical and artistic practice, Fluxus developed and demonstrated ideas that would later be seen in such frameworks as multimedia, telecommunications, hypertext, industrial design, urban planning, architecture, publishing, philosophy, even management theory. This issue of Performance Research will explore the general and individual aspects of Fluxus that have made it so lively, engaging, and difficult to describe. About the editors. Ken Friedman was an active participant in Fluxus, as an artist since 1966, as director of Fluxus West for a decade, and as editor of The Fluxus Reader for Academy Press. Owen Smith is an art historian and curator specializing in intermedia and multimedia art forms. His book, Fluxus: History of an Attitude, is published by San Diego State University Press. Deadlines Proposals and full text articles welcome to 1 September 2001 Final selection by 15 October 2001 Completed articles and manuscripts due by 15 December 2001 Proposals or complete articles welcome Please send article proposals to Owen Smith at [EMAIL PROTECTED] Completed articles or extensive drafts are also welcome. Proposals and articles may be sent in email form and as attachments in Microsoft Word. This issue will be richly illustrated. Proposals or complete articles should indicate illustrations and how they will be presented. The initial proposal or article need not include the actual illustrations. These will be planned after articles are selected. General questions may be directed to Owen Smith or to Ken Friedman at [EMAIL PROTECTED]
FLUXLIST: Tra por
Tra por Eu na crama knot lug fofo stop sail apter bling noose: yr nope clud nailed rafter. pendant nase yr sough flow rack in dented marble polls toward "wall" lapper sinks an parble moss. queen lube mon splace swerls (non loss John M. Bennett
Re: FLUXLIST: RE: FLUXLIST-digest V1 #751
Reed et al: The Sackners are still very much collecting, but are a bit behind in their cataloging of everything. The collection is amazingly well-organized and maintained. They do want to sell it to a library, but so far haven't worked out a deal with one. They don't buy everything (how could they?) but as you know their collection is amazingly wide-ranging, has historical depth, and includes work by several artists in considerable depth (like Tom Phillips). A lot of people give them stuff. Onword, John At 10:20 PM 6/25/01 -0400, you wrote: > -- > > Date: Thu, 21 Jun 2001 12:24:05 -0400 > From: "John M. Bennett" <[EMAIL PROTECTED]> > Subject: FLUXLIST: visual poetry > > Pedro et al: > Sorry to take so long to respond further to this matter - I've been on a > retreat (during which I took a field trip to the Sackner Archive of > Concrete and Visual Poetry in /Miami Beach) - John, I envy you having been able to visit the Sackners' archive- I had just been asking John Held what was up with them... he said they were trying to sell their collection, but I suspect this was just another of John's I'm-trying- to-make-myself-look-important-by-starting-rumours-about-something-I-have-no- clue-about responses. Which brings me to the question- so what actually IS going on with the Sackners? I remember in the early 90's some of the older mailartists I met were bemoaning the fact that they could no longer count on the Sackners to buy their work, that the well had run dry so to speak. I'm not so concerned about money, only whether they are still collecting work or is the collection closed? Also, Pedro et al. one really great publication in which some folks tried to get at defining the whole area of visual poetry is the survey/book called "CORE: A Symposium on Visual Poetry" edited by John Byrum (Generator) and Crag Hill (SCORE) around 1993. You can get it (as I did) from John Byrum for $15 + $2 postage from Generator/3503 Virginia Ave./Cleveland/OH/44109. Highly recommended. RA but as to defining What > visual poetry is, that's a tough one. I tend to think of it as anything in > which there is a visual element to the work (that is, SEEING it is part of > the experience). That, however, could well include almost all poetry, so I > think it also includes a quality of the work which makes it in one way or > another totemic and/or talismanic. That is, its physical presence is part > of the thing; it's not just "abstract" like a purely linguistic artifact is. > > The Sackner archive is AMAZING - there's nothing else like it anywhere. > > Onword, > John
Re: FLUXLIST: visual poetry
At 07:36 PM 6/25/01 -0700, you wrote: At 12:24 PM 6/21/01 -0400, you wrote: Pedro et al: Sorry to take so long to respond further to this matter - I've been on a retreat (during which I took a field trip to the Sackner Archive of Concrete and Visual Poetry in /Miami Beach) - but as to defining What visual poetry is, that's a tough one. I tend to think of it as anything in which there is a visual element to the work (that is, SEEING it is part of the experience). That, however, could well include almost all poetry, so I think it also includes a quality of the work which makes it in one way or another totemic and/or talismanic. That is, its physical presence is part of the thing; it's not just "abstract" like a purely linguistic artifact is. That's useful, yet doesn't cut much out. It seems that most "non-visual poetry" could be experienced aurally and not visually without losing too much. Would you agree with that? Pedro Yes, I would agree, loosely speaking. In reality, however, an aural experience is quite different from the "visual" (or reading to oneself) experience, because the aural presentation is an interpretation, and therefor a limitation, of the whole text. A whole text is (or should be) full of ambiguities, double meanings, etc., some of which is lost if you can't see the words. This varies of course depending on the text under consideration. John The Sackner archive is AMAZING - there's nothing else like it anywhere. Onword, John
