imprints by Gail D. Whitter – http://www.scribd.com/doc/36798816/Imprints
22 EVENT SCORES by Jim Leftwich – http://www.scribd.com/doc/36802074/22-Event-Scores
ex lio by Mario Jose Cervantes – http://www.scribd.com/doc/36805246/ex-lio
Phenomena of Interference by Steve Dalachinsky – http://www.scribd.com/doc/36807588/Phenomena-of-Interference
oxygenation by Diana Magallon – http://www.scribd.com/Oxygenation/d/36812007
floressence by andrew topel – http://www.scribd.com/doc/36816327/floressence
follow gammm‘s light
img source : http://blog.modernmechanix.com/2010/07/14/their-words-have-wings-as-swift-as-light
from http://www.manystuff.org/?p=7793
Uncanny: Surrealism and Graphic Design,
by Rick Pynor, uncovers the presence of an alternative tradition in graphic design.
The Surrealist movement of the 1920s and 1930s focused on literature, painting, photography and the object, and the Surrealists’ publishing activities provided only hints of what a fully conceived Surrealist graphic design or typography might look like. Many of the most suggestive early examples came from Czechoslovakia, where Surrealism would become a lasting influence. Subsequently, Surrealist ideas and images had a profound impact on image-makers in every sphere of art and design, and by the 1960s the effects of Surrealism were widely felt in international graphic communication. Uncanny traces this intermittent line of development up to the present. ( Go to Views of Exhibition & Images/Press release )
Until October 24, 2010, part of the 24th International Biennial of Graphic Design Brno 2010, The Moravian Gallery in Brno.
Rick Poynor, Curating “Uncanny: Surrealism and Graphic Design”, Lecture
This illustrated lecture, focusing on this exhibition, will examine curating as an extension of writing and editing practices. What are the crucial similarities and differences between selection for the two-dimensional page and the space of the gallery? Poynor will consider Surrealism as choice of theme—why explore this topic now?—and place “Uncanny” in the international context of the many other shows on Surrealist art. He will explore how the exhibition relates to the paths of inquiry he has pursued in his critical writing and address its broader polemical purpose.
September 14 2010, 6pm, Design Criticism MFA Department, New York.
See
A year in the making! 130 pages 165+ color plates and several writings.
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Fluxhibition #4 – Fluxus Amusements, Diversions, Games, Tricks and Puzzles – will be exhibited October 8-30, 2010 at the Fort Worth Community Arts Center.
See what’s happening so far here: http://fluxmuseum.org/fluxhibition-4/index.html
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The Fluxface in Space project is just about ready for exhibit as well. http://fluxfaceinspace.blogspot.com/ 121 artists from 25 countries!
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Concurrent with Fluxhibition #4 will also be some version of A Book About Death ; Also New Works by Lanny Quarles and a few things from the newly acquired estate of Nerina Cocchi Zecchini http://nerinacocchizecchini.org/.
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CONTRIBUTE if you can buying catalogs from http://lulu.com/ontological
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exploring the page http://thenewpostliterate.blogspot.com/ I can see/say that the pieces by Lin Tarczynski seem to me asemic works, not “visual” nor “concrete” poetry, because I can’t recognize any known alphabetical sign in them, nor an even distorted or unintelligible sentence. that said, they “seem” alphabetical stuff, though.
also, I think the border between asemic text and abstract art is thin, and if vispo often seems to be “mixed” with abstract stuff, asemic seems to “be” abstract art.
this is because (in my opinion) at a first glance you can often tell the vispo from the abstract, while it’s more difficult to tell the asemic from the abstract.
I may be wrong, but I think that when one recognizes symbols as aphabets, series of words, fragmented sentences, twisted letters, the brain starts putting all the letters and symbols etc on one side of its conscience. while if you don’t perfectly recognize letters, but you “suspect” they are, your brain works differently, and it seems like you are never completely sure if you’re staring at an unknown language or not (so that one can say there’s some sort of floating opinion/judgement about the nature of the object you’ve seen.)
this also happens when one meets languages one doesn’t know; there’s a fascinating echo in Arabic calligraphy for example, we all made this experience. it’s a poor example, ok. but it seems to me I can say I’m looking at the Arabic calligraphic drawritings as if they were sort of asemic writing (while only an Arab could tell me “hey this is a piece of poetry” or “no, man, these are meaningless doodles, they only resemble words”.)
our language determines our approach to the images: if we –even partially– recognize & decipher the language, we tend to “see [it is] text” (and/or vispo). if we don’t, we still suspect there’s some text (but we say it’s asemic –“to us”.)
now, going back to http://thenewpostliterate.blogspot.com/ and considering the beautiful photos by RC Miller, I think that the first one is something standing on the border between asemic and abstract, but it’s not so simple for me to think it’s actually “vispo.” while the second piece is almost clearly vispo “and” asemic (in my perception of the image.)
the third photo is more abstract than asemic, I must admit; and it’s hard for me to say it can be labelled as vispo.
the fourth is enigmatic, since it seems something like a “pure ideological message” : I could translate this message as “I’m just deleting the *perspective* of the written language.”
but it’s “my” translation. the artist’s intention may be different, I don’t know. by the way, since this photo is –to me– “ideological” (or “too clear in its message”,) I feel I’m a bit less involved into its “beauty” (if this be the right word.)
is this piece asemic or vispo? it’s an asemic statement made by vispo means (blurred letters,) I suppose.
now.
I choose one piece from my little archive http://vispostock.blogspot.com
that’s what I wanted to say about asemic/vispo, for now: asemic & vispo come from the same family (sometimes they’re cousins, sometimes twins.)
mg
[Aug., 2010]