Dan Waber’s Another Tool for Discovering your Favorite Letter (ATDFL) is an online interactive poem, a mandala-like, kaleidoscopic hallucinogenic roundabout tilt-a-whirl hurricane pinwheel rabbit's hole sawblade exploration of the letters of the alphabet and the keyboard.
You type a key and on the screen that glyph begins rotating. The up and down arrow keys allow you to control the opacity — how much of a visual trail the letters leave. The left and right arrow keys control the speed of rotation. And the space bar allows you to do that roller rink thing where suddenly, everyone — G, }, h, and * — skates in the opposite direction. There’s also an option for choosing the font. I think I might have a fontcrush on Times Roman h.
Our first week on Williams’s Paterson we began by constructing a question gallery. First, come up with a question about some key detail of the poem. Second, come up with a quesion about some formal element of the poem. Third, come up with a question about a larger question raised by the poem. Once the questions have been pinned to the wall, used colored post-its to annotate, respond to, and further question the questions.
Round Vienna is the title of a new chapbook from Vagabond by Kate Lilley, and reminds me that Vienna airport, (my only experience of Vienna) is round. As far as I know, it's the first solo poetry publication from Lilley since her 2002 Salt book, Versary. It is just 4 poems. Yet the elegant production aside - and the splendid (yet understated) sample of images by Melissa Hardie - it does not feel meagre. Titles are important: and if Vienna conjured Freud for you, the first poem title, 'Fraud's Dora' would confirm it. The title is in a sense a balancing of the intellectual weight of the poems: for we are in the realm of psychoanalytic assemblage. There is a similarity here to the poems of Emma Lew in that the lines seem drawn from disparate (if perhaps fictional) sources, yet they present a tonally structured verisimilitude rather than the feel of a field of fragments. Otherwise they are very much their own woman - distinct in terms of rhythm, sensibility and humour:
she did not scruple to appear
in the most frequented streets
she was in fact a feminist
Sidonie was a lesbian patient of Freud's, and there is a homoerotic coupling between the poem on the left and Hardie's image on the left. (These images are not just illustrations but poetically apposite in themselves, encouraging a reading of the book as visual poetry.)
For most of us, our first act in life is a speech act. We are born, we inhale, and then some of us sneeze, but most of us scream. For the next few months we make sounds, which we’re repeatedly told are letters. Somehow a song called The Alphabet gets stuck in our head. We can’t stop humming it. Eventually someone hands us a pen.
Viennese poet, programmer, performer, musician, composer, lecturer and researcher Jörg Piringer works operate in the moments human voice, machine language and letter forms meet.
Piringer uses his voice as an interface and as a medium. In his electronic visual sound poetry performance frikativ, Piringer generates visual sound poetry in real-time by speaking and vocalizing into a microphone. Fricatives are audible frictions, consonant sounds produced by forcing breath through a narrow, constricted, or partially obstructed channel. In frikativ, the channel of the vocal tract is appended to that of the microphone, which is further extended by cables to a computer wherein live and pre-recorded voice sounds are modified through signal processors and samplers. Piringer’s custom software then analyzes these sounds to create animated abstract visual text-compositions.
Through a long, ongoing, iterative, and intrinsically performative writing process, Piringer has created a massive custom-written computer program with which he builds his performance works. Similar to the way one game engine can be used to create a wide range of different games, Piringer can now drawn on his own code base to create new behavioural logic sets for each new performance.
Since the proliferation of internet magazines it seems there has been a corresponding proliferation of visual poetry. I'm not sure why. That colour reproduction isn't a money issue is perhaps one, and that we have stopped seeing the visual aspect of text in print. The internet wants to be a movie. One aspect of reading visual poems online is that of movement and perspective.
Heide Museum has a distinct relationship with Australian poetry. Formerly Heide was the residence of John and Sunday Reed. John was the publisher of Angry Penguins, and so Heide became one of the nodes of the Ern Malley saga.
Poet and editor of overland Barrett Reid also lived at Heide. More pertinently for this post is the fact that the Reed's adopted son Sweeney grew up there and became a concrete poet and poetry publisher. His work forms part - you could say the heart - of the Heide collection of concrete poetry. Reed made explicit use of both Stein and cummings in his poetry; the influence of Ian Hamilton Finlay is also apparent. Reed had plans to collaborate with Finlay when he died in 1979. Though not, apparently, prolific his conceptually dense works suggest a commitment to both the construction of his work, and the construction of a place for his work within poetry (rather than within art which was the more immediate influence: his adoptive parents being art patrons and early supporters of Sidney Nolan, who also lived at Heide. Reed's biological parents, Joy Hester and Albert Tucker were also painters).