Category Archives: Visual poetry

Ĉtyři básně

visual poetry5Thanks to Slavic, East European, and Eurasian Librarian Thomas Keenan, the Graphic Arts Collection has acquired this rare book of visual poetry by the experimental Czech writer Bohumila Grögerová (1921-2014). Entitled Ĉtyři básně (Four Poems), OCLC records only one other copy of this fragile volume in the United States.

visual poetry2

Bohumila Grögerová and Alois Chvála, Ĉtyři básně ([Prague]: UB, 1965). “Upravil, vysadil a na ru čním lisu vytiskl Alois Chvála …”–Colophon. Graphic Arts collection GAX 2015- in process

visual poetry3visual poetry

http://www.ceskatelevize.cz/ivysilani/10121102744-cesko-jedna-basen/311295350080021-cesko-jedna-basen-bohumila-grogerova

visual poetry6visual poetry4See also: Vrh kostek : česká experimentální poezie / [editors, Josef Hiršal, Bohumila Grögerová ; Zdeněk Barborka … et al.] (Praha: Torst, 1993). Firestone Library (F) PG5025 .V74 1993

La Lune: ou le livre des poème

la luna2

Pierre Albert-Birot, La lune, ou, Le livre des poèmes (Paris: Budry, 1924). “Cet ouvrage a été tiré à 326 exemplaires: 26 exemplaires sur Chine … dont un imprimé pour l’auteur, et 25 numérotés de 1 à 25 … [et] 300 ex. sur vergé pur fil Lafuma … numérotés de 26 à 326”–Page [2]. Graphic Arts Collection GAX 2015- in process


la luna3

The artist who in his painting and drawing comes to an understanding of the creative act and produces a microcosm of creation through the form and space of the canvas applies himself as poet to the concrete dimensions of the poem to produce a construction which is at once visual and verbal. It is this which makes an understanding of Albert-Birot’s visual poetry essential for an appreciation of his work as a whole. The fact that he mastered the printing process cannot be reiterated often enough. Creation does not take place only in the mind of the poet, it is received not only in the mind of the reader: creation is concrete, the poem is an object.

The printed space is a practical, functional, mechanical one. The poet and the reader replace it with a “literary or aesthetic space”, an imaginary space, a space of the imagination. Here mechanics and aesthetics fuse to create space which is at once imaginary and material. The superficial visual delight belies deeper bodily sensation just as the sound poems of La Lune explore the archaic noises and rhythms of poetry. This is not experimental poetry for its own sake, nor merely playful audacity in breaking the rules, being willfully “modern”, not a sterile artistic practice in search of something “new”. The relationship between the body of the poet and the body of the poem is fundamental to Albert-Birot’s work as a whole and it is here that it assumes its place in the modern aesthetic as a questioning of the processes of creation and of the place of the self in that creation.”

–Debra Kelly, “From Painter to Poet: the Visual Poetry of Pierre Albert-Birot in La Lune: ou le livre des poème,” in Forum for Modem Language Studies 1996, Vol. xxm, no. 1, p. 50.

For the complete article see: http://fmls.oxfordjournals.org/content/XXXII/1/37.full.pdf+htmlla luna8

la luna7

la luna6

la luna5

la luna4

Jörg Piringer

Post-digital sound and concrete poet Jörg Piringer was born in 1974 and currently lives in Vienna. He is a member of the institute for transacoustic research and the vegetable orchestra (das gemüseorchester) among other organizations.

Created in 2011, Unicode shows all displayable characters in the unicode range 0 – 65536 (49571 characters), one character per frame. After you spend a few minutes with it, I suggest you leave it running while you work elsewhere and enjoy the sound.

Another of Piringer’s projects is Konsonant, an mp3-album as well as an app for iPhone, iPod touch, iPad and Mac. You can download the whole album for free and for a small charge download the interactive app-version here. Piringer invites you to play with letters and sounds, build acoustic machines, control morphing clouds and experiment with the alphabet.

These and other projects at the intersection of publishing and digital technology (P—DPA) are found at http://p-dpa.net/. The index is maintained by Silvio Lorusso, who systematically collects, organizes and keeps track of experiences in the fields of art and design that explore the relationships between publishing and digital technology. He writes, “The archive acts as a space in which the collected projects are confronted and juxtaposed in order to highlight relevant paths, mutual themes, common perspectives, interrelations, but also oppositions and idiosyncrasies.”