The satire is it satire? Perhaps in part a response to Eating the Other before those theories emerged? Getting right to it, they state that male-dominated power structures must be destroyed, as well as the state.
Abbott Miller in I am endebted to the ever-resourceful Jason Lewis for loaning it to me from his library. The opening essay is only 8 pages online but manages to cohesively develop a taxonomy of dimensional type.
The remainder of the book is devoted to Case Studies: If typography is the physical substrate the body or ecosystem of literature, then poetry is interpretable as the phenomenological essence or process of literature, a way of getting at the raw truth in awareness.
Typography, in this schema, is a subset of the poetry. In other words, typography is an element of the physical context; while poetry expands beyond pure context to include content. This SimpleViewer gallery requires Macromedia Flash.
Please open this post in your browser or get Macromedia Flash here. In other words, digital-poets are now designers and programmers. They migrate from symbolic glyphs glued to flat-space into vibrating reality, shadowed weight endows them with proximity.
Perspective, proportion, composition, formal balance and ratio enter into reading. The semantic act, the basic meaning of the word or sound of a letter, then gets carried along into unfamiliar modules in the brain; an expanded semantics emerges, a semantics carried along by the texture and behavior of the skin of text rather than the coherence of a sentence or phrase.
I am intrigued by this lateral motion of dimensional typography because at the same time as it provokes and offers visual reflections on questions of ontology, it questions the notion of disciplinary boundaries and evokes considerations of synaesthesia which leads to neurology and sometimes these inquiries surreptitiously creep back toward phenomenological questions about how meaning emerges.
Below are some stills from an online experimental film-typographic-poetic-experimental play-art-research-work I am making in process as of January dealing with 3D type. It is called MUD. Is it a poem? At what point does the poem stop and the painting begin? At what threshold does the legibility of the letter disappear, and the abstract immanent art-form emerge?
Can the two speices of aesthetic appreciation co-exist? Maybe the arts are merging, maybe art-works will traverse or fuse or co-activate discrete modules in our brain as easily as crowds of clouds slip unnoticed over international borders.
Human abstractions do not necessarily constrain actuality; as wall screens and ubiquitous networks inundate humans with advertising, perhaps the act of reading will slowly become synonymous with a cinematic gaze; paragraphs and verses will flock. Probably the cognitive speed limit of human attention will always mean that quiet static serene page-like representations of language remain in the repertoire of literature, even as screen-based sculptural typography will assume a larger neurological market-share.
New capacities constitute new modes of expression; new modes of expression permit new concepts; new concepts feed into capacities. Recursion occurs, the intangibility of poetic meaning is echoed in the intangibility of the virtual.
Even more, if the words themselves are pixel-clay animated in real-space, composited onto video footage, then words become beings. They have depth, they move, they cast shadows, they collide, they can be ripped apart and die or be sculpted. Sculptures have often thought of the medium they use as being alive.
Now with 3D software, humanity is approaching a place where numerous questions about what constitutes sculpting life will be debated; garage scientists will redefine what constitutes genetic research.
While artists, and specifically digital poets such as myself, bear the responsibility of advocating on behalf of forms and language itself. Advocating for the inclusion of language itself into the continuum of life is not necessarily as naive as it may at first appear.
These glyphs and motes of meaning that we trade amongst each other contain the rudiments of a metabolism called emotional syntax.Dec 01, · “Claes Oldenburg with Coosje van Bruggen: Drawings” is a survey of 40 collaborative works by contemporary artists Claes Oldenburg and Coosje van Bruggen.
This exhibition presents 39 drawings and one sculpture spanning the artists’ careers from through Nov 24, · “Claes Oldenburg with Coosje van Bruggen: Drawings” is a survey of 40 collaborative works by contemporary artists Claes Oldenburg and Coosje van Bruggen.
This exhibition presents 39 drawings and one sculpture spanning the artists’ careers from through Poem The Waste L And Claes Paul. A commentary on T S Eliot s poem The waste land the November 23rd, - Get this from a library A commentary on T S Eliot s poem The waste land the infertility theme and the poet s unhappy marriage Paul Claes A commentary on T S Eliot s poem .
The word Pop Art is an abbreviation for Popular Art. The name says it all. The Pop Art movement wanted to bring art back into the daily life of people. It was a reaction against abstract painting, which pop artists considered as too sophisticated and - The word Pop Art is an abbreviation for Popular Art.
Nov 25, · “Claes Oldenburg with Coosje van Bruggen: Drawings” is a survey of 40 collaborative works by contemporary artists Claes Oldenburg and Coosje van Bruggen.
This exhibition presents 39 drawings and one sculpture spanning the artists’ careers from through I am grateful to Kirby for documenting this work and pleased to have the opportunity to put it into print again. Ideally I would have liked to replicate all the material in the TDR but, unfortunately, have been unable to reproduce all of the artwork.