My last post explored book artists who work conceptually using print-on-demand technology, but the use of conceptual methodologies extends to those who work in hand-made books as well.
This summer and fall, I have spent time in special collections at the University of Washington (partly in preparation for the Affect and Audience in the Digital Age symposium, and partly to find books for my spring workshop).
From an interview by Sonnet L’Abbé with Sarah Dowling and me in Canadian Literature 210/211 (Autumn/Winter 2011)
As long as Christian Bök and Darren Wershler remain influential figures in conceptual poetics, would you consider conceptual writing a practice that has its origins "in Canada," perhaps with 'pataphysical roots? Can Canadianist scholars stake that territory?