CONTACT WITH POETS

Recommendations

Info

these contemporary concrete and conceptual poets trouble the poetic discourses of de campos cage gysin and burroughs through the gendered exploration of concrete poetry beyond classical san serif typography contemporary conceptual poetry is defined by its material use of language—language which stretches beyond gender into new structures based on readability and legibility trace and evidence each of these poets transcribe difference in reading constructing reading and writing through a new geography of transgressive meaningmaking by mining the non-semantic and the non-traditional each of these poets are able to transfigure writing which transforms difference and enables an alternative to the normative concrete and conceptual poetry can no longer be considered a male-dominated field 41
A Box of Nothing. “Clearly we are beginning to get nowhere.” —John Cage On April 7, 2011 I sent The Bury Museum and Archives an empty box. I purchased the box for $5 and received skeptical looks from the UPS employees when I requested to send the box—devoid of any content—to Bury. UPS also instructed me that they would not ship an “empty box” and that they needed the contents of the box to fit within one of their predetermined categories. We agreed to enclose within the box a single sheet of blank A4 paper. With this content—as unwritten as it was—UPS could now categorize the contents of the box as “documents” and could continue to process the application for transportation. Their consternation was compounded with my request to insure the box and its contents to a value of $52,000; roughly the same measly amount as the yearly wage of an arts worker in the UK. UPS, not unexpectedly, would only insure the parcel for $3,000, and even then at a fee that was beyond affordability. In effect they would not guarantee the safety of a box of “nothing” and refused to insure the safety of “artwork” (even an empty box). For insurance of the amount I requested I would have to seek a rider from an independent insurance provider. I was then asked to complete a “Parcel Shipping Order” form that included checkboxes that inquired “Are the contents of the parcel breakable?” (Yes) and “Are the contents of the Parcel replaceable?” (No) Upon my completion of the form, I was invoiced a shipping cost of $175 and the box was assigned a tracking number and a series of bar- 42
Page 2: THE UNBEARABLE CONTACT WITH POETS
Page 5 and 6: if p then q classics 41 Fulford Str
Page 8: For Madeleine
Page 12 and 13: That’s not writing “That’s no
Page 14 and 15: transcend transcribe transfigure tr
Page 16 and 17: (1966) and the people mover: a demo
Page 18 and 19: creating an inundation of descripti
Page 20 and 21: face. another takes one in the hand
Page 22 and 23: and correspondence bervins work in
Page 24 and 25: gysin and burroughs collaborations
Page 26 and 27: * judith copithorne has published o
Page 28 and 29: ties with middle english in the gen
Page 30 and 31: how does it sound? 1. why would one
Page 32 and 33: tical analysis content is subsumed
Page 34 and 35: the output resembles aerial photogr
Page 36 and 37: swordsmith. let’s name this pagan
Page 38 and 39: [...] when i let the letters shift
Page 40 and 41: juring of texts within texts czechs
Page 44 and 45: codes and QR Codes to expedite the
Page 46 and 47: a little-known second line (as incl
Page 48 and 49: script is no longer the fictional o
Page 50 and 51: Poetic Representations of the Holoc
Page 52 and 53: have picked any period because the
Page 54 and 55: transcript is a collection of page
Page 56 and 57: ments which eerily reflect Bäcker
Page 58 and 59: You’re out of Excuses 17 years ag
Page 60 and 61: Type Cast: Darren Wershler Can’t
Page 62 and 63: we are blinded to the media technol
Page 64 and 65: Visuality and Conceptualism Instead
Page 66 and 67: ping. Over a year I mapped the occu
Page 68 and 69: Auster’s 1986 novella Ghosts. Wri
Page 70 and 71: populace once a month. Each month t
Page 72 and 73: duced by stripping away all sense o
Page 74 and 75: focuses on the geographic layout of
Page 76 and 77: lock of assigned colour. The viewer
Page 78 and 79: With now we are friends Fitterman h
Page 80 and 81: as they may be are not only constan
Page 82 and 83: the same prohibitions—moral, alim
Page 84 and 85: not. At every moment, a continuous
Page 86 and 87: a sentence overheard by a witness
Page 88 and 89: The Text Festival: An Interview wit
Page 90 and 91: silence what about the visual art c
Page 92 and 93:
highpoint was the headline gig with
Page 94 and 95:
and text function as objects on dis
Page 96 and 97:
materiality, and it’s quite liber
Page 98 and 99:
language from myriad sources snaggi
Page 100 and 101:
Having said all that, I think there
Page 102 and 103:
the categories themselves are a bit
Page 104 and 105:
Simpson: I think the difference may
Page 106 and 107:
ly, I’ve been writing almost excl
Page 108 and 109:
head ... so then, what lines are ap
Page 110 and 111:
sistent publisher to include full c
Page 112 and 113:
lations and so on) that we refer to
Page 114 and 115:
technologies and tools. I do worry
Page 116 and 117:
useful affinity between the politic
Page 120:
Acknowledgements These essays, in v
Page 123 and 124:
_____. Draft Notation. New York: Gr
Page 125 and 126:
Perloff, Marjorie. “Afterword.”
Page 128 and 129:
v
show all

CONTACT WITH POETS

Create successful ePaper yourself

Delete template?

Save as template?