Visual arts and poetry

Une même procédure : construire des objets, les mettre en scène puis les peindre ou les dessiner avec une exactitude égale à la part laissée à l’aléatoire dans leur création. Rosalie Gamache laisse du plâtre dégouliner et se figer sur des bibelots et autres objets du quotidien ; Olivier Moisan Dufour construit des assemblages improbables en bois de palette. Marie-Claude Lacroix conçoit de petits théâtres où se rencontrent sous haute tension des matériaux de construction. Alexandre Pépin modèle des objets informes en plasticine et les dispose sur un plan imaginaire comme on liste un inventaire. L’opération de départ de Sébastien Gaudette est plus lapidaire : froisser des feuilles de papier.

Tous ces assemblages, fruits du hasard et du jeu, se retrouvent fixés en des images lisses qui les métamorphosent, précisément parce que la matière dont ils sont faits - celle du plâtre figé dans son écoulement, du papier froissé, des planches de bois usées, de la viscosité et du tranchant des matériaux de construction ou de la ductilité de la pâte à modeler et de l’argile - est parfaitement figurée. Si les techniques illusionnistes ont pour fin de rendre invisible la surface du tableau et la matérialité des pigments, qui disparaissent dans la fonction de figurer quelque chose, la démarche singulière de ces artistes a pour résultat que la matière se retrouve de l’autre côté de la toile, comme objet de représentation : la peinture cherche à se faire à l’image de quelque chose qui lui ressemble, quelque chose d’éminemment indéterminé, à savoir la texture, la concrétude des objets.

Figuration minutieuse de l’indistinct, aseptisation de l’informe : tout l’intérêt de ces pratiques est de nous confronter à une ressemblance parfaite, héritière du perfectionnement introduit par des siècles de tradition picturale, mais paradoxalement ressemblante à rien de reconnaissable, une ressemblance qui offre moins la possibilité d’identifier ce qui apparaît qu’elle nous livre à un troublant effet de présence, à un flottement.

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Plongeant dans la pratique de cinq artistes de la relève, Les imagiers de la matière est un essai portant sur le statut de la matérialité dans la production d’illusion picturale. Le texte, puisant à la philosophie, à la psychanalyse et aux théories de l’histoire de l’art, explore les paradoxes liés au phénomène de la ressemblance pour tenter de cerner la corporéité singulière des œuvres de Rosalie Gamache, Sébastien Gaudette, Marie-Claude Lacroix, Olivier Moisan Dufour et Alexandre Pépin. Avant-propos de Maxime Coulombe.

Jack Siegel was the quintessential single-minded artist:
difficult, self-absorbed, and completely dedicated to his work. He
spent his days walking city streets, living on bagels and sardines,
and sketching people: in parks, cafés, hotel lobbies, back stage in
theatres and in train stations. He had little regular employment,
no long-term fixed address, few lasting relationships. Even after
he was declared legally blind in 1988, Siegel continued to draw up
until his last days.
Mark Silverberg’s poems in Believing the Line resurrect
Siegel’s nearly lost work. They create a linguistic counterpoint
which, in one critic’s words, “etches in poetic line the impact, allusiveness and pathos of images which illuminate the extraordinariness of everyday street life in Montreal, New York and Toronto.”

Wilfred Owen's powerful poetry is the catalyst and the source of inspiration of my oeuvre on Post-traumatic Stress Disorder (PTSD). In my art I study Owen’s choice of words and tone in order to restore, create and embody in visual form the atmosphere of harshness and terror, and to convey the extreme situations experienced by these injured souls. In my paper I address the methods that I use in order to express in material form their vulnerable and fractured mental state according to Owen’s spirit.

Published in The Wilfred Owen Association Journal, Issue 1, pp. 6-11.

Henry Holiday to Lewis Carroll's "The Hunting of the Snark" (1876, final chapter The Vanishing) and "The Image Breakers" (1566?) by Marcus Gheeraerts the Elder. In my viaw, both images are related to violence: Destruction of heretics and iconoclastic destruction of religious symbols.

2015-04-18: Pictorial quotes of shapes from the source image already can be seen in Holiday's drawing for the illustration to chapter 8 in Carroll's Snark.

2015-04-19: Only lay-out changes.

This research discusses how Arabic Poetry can be reenacted through the medium of Poetry films. It gives an account of the different movements of Arabic Poetry, and how the role they played in the Arab and Egyptian culture has changed over time. The research also discusses the new approach of animated Poetry films that visualize poems in various techniques, and attempts to see how these techniques can be incorporated to create an Animated Poetry Film that visualizes an Arabic poem.

A un secolo di distanza, questo libro volge lo sguardo a uno tra i grandi protagonisti delle avanguardie artistiche. La produzione di Léger, negli anni cruciali prima del conflitto mondiale, è setacciata in maniera capillare: non solo i capolavori acclamati, ma anche le opere considerate “minori”. Tra queste, la fitta produzione di disegni è stata riordinata nel suo complesso, per la prima volta. Da tale prospettiva è stato possibile seguire il percorso sperimentale che ha condotto ai grandi dipinti, svelandone motivazioni spesso trascurate. Ma la trattazione non si limita al dialogo a due con l’autore prescelto: al contrario si dà un impianto corale, che coinvolge la vasta rete di relazioni che legano Léger ai compagni dell’avanguardia. Ne risulta una rilettura del cubismo in senso lato, nelle sue connessioni con le tendenze pittoriche internazionali e con gli operatori di altre discipline, quali i poeti, i filosofi, i compositori musicali. Il tutto è condotto con rigore e chiarezza d’esposizione, in riferimento costante alle fonti e agli studi storiografici, da quelli ormai classici ai più recenti.

VISPRO - Prose made visual (visual prose).
From where I stand now, the how (asemic writing/ text – in all its manifestations/ the image – be it original/begged/borrowed/stolen) is not the important question it seems. Rather, the why has become a fundamental area of interrogation in processing the plethora of visual-word images I view every day.
This article seeks to explicate some parameters in which to frame various artworks one could term visual prose (hereafter termed vispro) and through visual examples elucidate a philosophy for the existence of vispro. Most research (from Étienne Mallarmé, Ezra Pound and all the other great critics and writers reframing the visual-word) has concentrated on the poem in all its various manifestations. This has created a broad term 'vispo'.
Through the use and discussion of unusual and everyday examples of vispro, I wish to test if vispro can exist within a valid theoretical framework, it's own creature, different to vispo (visual poetry) - as prose is different to poetry.

Abstract
This article introduces the term “visual essay” by tracing the genre’s history through the concrete poetry movement and the rise of the lyric essay. In describing the aims of visual essays, Minor distinguishes between “illustrative” and “non-illustrative” shaped texts, and suggests connections between “non-illustrative” examples and the aims of “Intersectional Form,” a term coined by scholar Jen Soriano.

Recommended Citation
Minor, Sarah (2021) "Looking While Reading I, II, III," Journal of Creative Writing Studies: Vol. 6 : Iss. 1 , Article 5.
Available at: https://scholarworks.rit.edu/jcws/vol6/iss1/5

Is there a place for Emotional Meaning in Architecture?
Emotional meaning in architecture occurs when the elements or the character of a space arouse an emotional response in the user that is meaningful, significant and enduring.

Buildings speak to us and we respond to them. In that silent dialog, we develop a bond that grows within us over time. Yet we have learned to ignore its existence. The rational has won over the subjective in design and something has been missing, a cause of urban alienation. We call this missing piece Emotional Meaning. Our essay articulates the centrality of Emotional Meaning in design and why people and designers should pay attention to it today. Buildings can leverage our affects in unanticipated ways. Our response to them is visceral. It is firmly anchored to our emotional infrastructure. It means something to us. Our argument goes further than its mere acknowledgement: we believe that Emotional Meaning is a primary design objective for that building to be integrated in the symbolic fabric of our individual emotional landscape.

En el campo de la actividad plástica en México, la aparición del lenguaje escrito dentro del quehacer plástico surgió a partir de la introducción de una nueva visualidad editorial, así como de la apertura hacia diferentes formas publicitarias, que impulsaron a algunos artistas a involucrarse en el área de los medios impresos, ocasión para combinar letras e imágenes.
En la primera mitad del siglo XX los mexicanos, José Juan Tablada y Marius de Zayas, irrumpen en el círculo artístico con poemas que revelan el vínculo con las vanguardias europeas.

In this short essay an envelope definition is given for Visual Poetry. Next to that some key parts of this definition are discussed:
a) What happens in front of a visual poem?
b) What is poetry?
c) What is art?
d) Historiographic importance to understand a visual poem
e) How does a (western) brain perceive a visual poem?
f) How to reproduce a visual poem?
g) How to orally perform a visual poem?

This essay aims to analyse three recent Italian poetry books (Alessandra Carnaroli’s "Ex voto", 2017; Fabio Orecchini’s "Figura", 2019; Andrea Inglese’s "Ollivud", 2018) as case studies in order to show the application of several visual art practices to poetic texts, both on a thematic and stylistic level. The relation between contemporary Italian poetry and visual culture will be explored involving both some literary criticism theories and some fundamental assumptions related to Bildwissenschaft and visual culture studies.

It's nonsense, but within that, Lewis Carroll's logic in this example strictly follows the logic of Edward Lear's nonsense. This is about the "Banker's" face after his encounter with the Bandersnatch in the chapter "The Banker's Fate" in Lewis Carroll's, Henry Holiday's and Joseph Swain's "The Hunting of the Snark" (1876). As for the Banker and his face, you find a textual allusion to Edward Lear as well as pictorial allusions to William Sidney Mount and Marcus Gheeraerts the Elder. --- See also https://www.academia.edu/10103262/Noseflip_animation_ and https://www.academia.edu/9964379/Schnarkverschlimmbesserung --- 2015-01-21: The illustration also may have been inspired by Charles Darwin's "The Expression of the Emotions in Man and Animals", e.g. https://www.academia.edu/10287871/The_Expression_of_Emotions

2015-03-09: Removal of two obvious typing errors. No change of meaning.

2017-09-29: This is about the Banker's face. I just noticed that in some of my articles I called the "fit" in "The Hunting to the Snark" which uses that illustration "The Banker's Fate". Sorry, it is "The Banker's Tale".

New York School Collaborations gathers ten new essays from a diverse group of interdisciplinary scholars on the alliances and artistic co-productions of New York School poets, painters, musicians, and film-makers. Ranging from conceptual theatre to visual poetry, from experimental film to avant-garde opera, the New York School has explored the possibilities of collaboration like no other group of American poets. Considering relationships between words and images, words and sounds, and words and bodies, these essays shed light on the dialogues between artists and the communities their work continues to produce.

Il volume prende in esame l’intensa e variegata produzione artistica di Luciano Caruso nel periodo napoletano (1963-1976) a partire da un nucleo selezionato di opere d’arte conservate principalmente nell’Archivio Luciano Caruso e in altre raccolte pubbliche e private. Questa nuova lettura, sperimentata per indagare gli esordi artistici di Caruso, si fonda su una metodologia filologica che è stato possibile mettere in atto attraverso l’ausilio dei complessi ed eterogenei materiali documentari conservati presso l’archivio dell’artista e resi recentemente disponibili alla comunità di studiosi.

New York City was the site of a remarkable cultural and artistic
renaissance during the 1950s and ‘60s. In the first monograph to treat all five major poets of the New York School—John Ashbery, Barbara Guest, Kenneth Koch, Frank O’Hara and James Schuyler—Mark Silverberg examines this rich period of cross-fertilization between the arts. Silverberg uses the term “neo-avant-garde” to describe New York School Poetry, Pop Art, Conceptual Art, happenings and other movements intended to revive and revise the achievements of the historical avant-garde, while remaining keenly aware of the new problems facing avant-gardists in the age of late capitalism. Silverberg highlights the family resemblances among the New York School poets, identifying the aesthetic concerns and ideological assumptions they shared with one another and with artists from the visual and performing arts. A unique feature of the book is Silverberg’s annotated catalogue of collaborative works by the five poets and other artists.

Visual poetry is a poetry emphasising its visual component. First visual poems appear as technopaegnia, or ‘games of mind’ practice. The author of a visual poem provides the reader with a clue to the text as well as deepens the text through interaction of visual and semantic components. A variety of visual poetry forms has historical and cultural fundaments and philosophical and aesthetic meaning. Through the centuries, several images were popular for visual poems, though a simple form of spiral was rare. In a figurative sense, the spiral means permanent development and growth, if seen from inside to outside, and increasing of tension in the inevitable approach to the centre, if seen from outside to inside. Whether it is a spiral of passion, or spiral of hate, or spiral of faith, it is continuously developing, changing and rotating around the centre. As shown in this paper, evolution of poems in the form of spiral generally coincides with the evolution of other visual poems, passing through the same stages of being sacred poem, intellectual poem, amusing poem, avant-garde poem, and children poem. On the other hand, spiral visual poetry has its own characteristic features, such as large time gaps, very rare appearance until the early 20th century, and a surge of interest in the modern era.

Wilfred Owen's powerful poetry is the catalyst and the source of inspiration of my oeuvre on Post-traumatic Stress Disorder (PTSD). In my art I study Owen’s choice of words and tone in order to restore, create and embody in visual form the atmosphere of harshness and terror, and to convey the extreme situations experienced by these injured souls. In my paper I address the methods that I use in order to express in material form their vulnerable and fractured mental state according to Owen’s spirit.

Published in The Wilfred Owen Association Journal, Issue 2, pp. 5-8.

[ENG Abstract]  The poem "Kings of Alexandria" is so artistically static that the verses "The Alexandrians of course felt that these words were theatrical" and "of course they knew what they were worth, what hollow words were these kingdoms" balance the exhaustively clear image with weight of a strong reason. Clearly the power of the poem lies outside the poem: in the memories and expectations it produces. The "Kings of Alexandria" gave me the impetus to re-read Cavafy in the light of his image-making. I distinguished two primary and two secondary correlations of Cavafy poetic creation with the language of visual arts. The two, which I call primary because they use a direct borrowing from the painting, are the detailed description of a static image on the one hand and the poetic atmosphere formed with the help of light and shadow on the other. The two secondary ones are Cavafy's frequent reference to colors as well as his reference to painters, sculptors, paintings or models as a key component of the content of the poem.
Cavafy's Art is of course poetry, but the almost impressionistic "half-faces", the "formed beauty" seek to give the reader a sort of spectator position, perhaps expressing Cavafy's inward desire to play in two sports, as in his poem entitled "Of the Jews (50 AD)" where the handsome Ianthis Antoniou was at the same time "a runner and a discus thrower, a painter and a poet".

«Fine direi, tanto per cominciare. Quando la prima elementare accorciò le ore del sonno facendo scivolare un freddo fastidioso nella schiena attraverso il colletto bianco inamidato. La fine di un'infanzia corta. L'odore dei lumini coprì improv-visamente i profumi di vaniglia delle confetture quando mia madre perse suo fra-tello Glauco, poeta. E fu subito scuola ché, già padrone di alfabeti materni, una suora in prima battuta mi chiese di copiare una pagina dal libro di lettura. Proprio così come la vedi. Proprio così? Le chiesi. Sì, così. E fu che ricopiai irreprensi-bilmente in bodoni perfetto, cercando di minimizzare i caratteri per non varcare i margini del foglio. Ovviamente fu la delusione della suora-maestra e fu la delu-sione mia. Che continuavo a chiedermi senza risposta perché avesse voluto ob-bligarmi a quell'esercizio tanto strano, quando avrei potuto scrivere tranquilla-mente in corsivo corrente. Un impatto deludente. E perdente. Nei confronti di quella signora bacucca così strana che si era senz'altro fatta un'idea sbagliata delle mie capacità scrittorie. In realtà ero abituato ad osservare tutto nei detta-gli. E mi interessavano le grazie dei ca-ratteri di stampa. Li vedevo cordiali e sorridenti. In particolare m'intrigava la "e", simpaticamente, che aveva deciso di porsi di profilo per esaltare il taglio della sua risata sganasciata. Abituato a scrivere sotto dettatura, capii, lì, che non dovevo prendere tutto alla lettera. Ma, in effetti, il gran finale fuor di bam-bagia c'era già stato quando scappai dall'infantile ostello. Un alto cancello. Un giardino. Un pino. Altre monache. Altro tipo di cuffia. Fu la mia prima performance. Una fuga in solitario di cui mi restano nella mente certi curiosi 1. Mio padre Adalberto.

"Pratique du Signe", texte-affiche de Joëlle Dautricourt publié par la galerie St Petri Archive of Marginal and Experimental Art de Jean Sellem à Lund en Suède, à l’occasion de l’exposition TECKEN — Lettres Signes Écritures — présentée à la Malmö Konsthall au printemps 1978.

Dit essay werd gepubliceerd in de catalogus ‘Visuele Poëzie’ in de Goretti Kapel, Tilburg, NL, november 2012 en behandeld enerzijds een theoretisch aspect en anderzijds een reflectie op het werk dat op de tentoonstelling werd getoond van ACG Vianen, Helen White, Marieke Houwers, Nick J. Swarth, Renaat Ramon, Rozalie Hirs, SAGE, Tonnus Oosterhoff en Sjon Brands

Dit essay werd gepubliceerd in de catalogus 'Getekende klank' , Centrale Bibliotheek KUL i.o.v. Matrix vzw, november 2013.
Binnen dit essay zal kort worden ingegaan op de problematiek van het brengen van visuele poëzie op een podium, met name de “orale interpretatie van visuele poëzie”. Na de definiëring van visuele poëzie wordt kort ingegaan op twee soorten visuele poëzie (visuele poëzie en oraal-visuele partituur) met hun historiografisch belangrijke DNA-bronnen in Frankrijk en Rusland. In elk deel wordt ook kort ingegaan op enkele hedendaagse voorbeelden en hun interpretatieproblematieken.

This paper aims to shed some light on one aspect of the art of Luigi Pasotelli (1925-1993), one of the more eminent (and less known) performers and graphic artists of the Italian scene between the 1980s and the 1990s: Pasotelli’s peculiar use of the ancient form of “calligramma” or “carme figurato”. In particular, I will try to show how Pasotelli was strongly influenced by Giovanni Pozzi’s masterpiece, La parola dipinta, which was first published in 1981, the starting year of Pasotelli’s artistic career. From this book, Pasotelli doesn't only take a certain amount of iconic patterns but also a theoretical frame in which he inscribes his work on visual poetry. Then, I will discuss the meaning of the animal and cosmic symbols in the context of the Pasotelli’s poetics.

In 'Etat d'Éxception', het tweede deel van Giorgio Agamben's 'Homo sacer' cyclus, komt op een bepaald moment het door Walter Benjamin in 1919 besproken concept van het 'zuivere geweld' voor ('reines Gewalt'), een vorm van geweld die niet langer ter ondersteuning van, of ondermijnend aan het gezag plaatsvindt, maar als dusdanig: een 'zinloos', puur geweld dat telkens weer opduikt in de Staat van Uitzondering, de soeverein gedeclameerde uitzonderingstoestand die de juridische orde tijdelijk buiten spel zet. De (mis)daad in die toestand maakt niet langer deel uit van de set van daden die door het juridische systeem beoordeeld kunnen worden, ze spelen zich af buiten het binnen van de juridische orde. Heilig is de mens als hij buiten het menselijke is gesteld, en vervolgens op onmenselijke wijze mag vernietigd worden. Op pagina 104 van de Franse vertaling citeert Agamben in dat verband Benjamin als volgt: "La purité d'un être n'est jamais inconditionnée, ni absolue, elle est toujours soumise à une condition. Cette condition diffère chaque fois en vertu de l'être dont la pureté est en cause ; mais jamais cette condition ne réside dans l'être lui-même. Autrement dit : la pureté de tout être (fini) ne dépend pas de lui-même [...] Pour la nature, c'est le langage humain qui est la condition même, située hors d'elle, de sa pureté (Benjamin 6, 205-206)." 1 Dit fascineert Agamben omdat het op exemplarische wijze de topologie verwezenlijkt die hij in deze cyclus (en daarbuiten) bijna dwangmatig op het spoor is en conceptueel wil ontwikkelen. De topologie is die van een naar binnengehaald buiten, een toch duidelijk absoluut gedachte exterioriteit die de interioriteit produceert, een buiten dat het binnen tot binnen maakt, een uitzondering die tegelijk fundament is van de wet. Als je, met enige welwillendheid, het 'asemisch schrijven', het geheel van grafisch-literaire experimenten en internationaal verspreide, creatieve ondernemingen dat sinds 1997 onder die naam opgang maakt, even interpreteert als een vorm van 'puur schrijven', een schriftuur die zich in die uitzonderingstoestand bevindt, dat ze elke vorm van betekenis achter zich heeft gelaten, en dus sacraal, gedehumaniseerd is, want los van elk (bestaand) systeem dat het geschreven teken met betekenis verbindt en verbonden houdt, dan zie je hoe een eendere topologie het asemische schrijven, de pure praktijk ervan, zou kunnen uitroepen tot het fundament van de orde van het geschrevene, de 'literatuur' die tegelijkertijd ('à la fois', dat Derridiaanse trekje móet ook van Agamben) verworpen wordt. Negatief: de auteur was al dood, de zombies schreven decennia lang voor een afwezig publiek, maar nu is de échte noodtoestand van kracht: het schrijven wordt een puur schrijven, waar alle handelingen van het schrift worden gesteld (manueel, grafisch en/ of digitaal) maar betekenisloos, een deels nostalgisch, deels wanhopig, deels contesterende voortgang van de activiteit nadat elke zin ervan ontheven is.

The Book of the Happy Writing is a work of digital graphic art.
In the avant-gardes continuity of artist book and typography, The Book of the Happy Writing consists of a set of twenty-six colour plates composed of Hebrew alphabet letters and some other guests.