Gary Barwin

Beyond eco-slave names: gibb(ev(er)y(where(aware

A conservation with a rawlings

a.rawlings: from Gibberland
a.rawlings: image from 'Gibberland'

“Does [writing] need to be an act composed by a human entity?” a rawlings asks in her online multidisciplinary work, Gibber

This naturally leads to questions about reading: What can we read? How can we read? She writes, that “Gibber hinges on exploring notions that humans read their environments and/or that humans are in conversation with landscapes and the inhabiting non-human species.”

derek beaulieu's Prose of the Trans-Canada

A 1:1 scale road map of language

beaulieu's Prose of the Trans-Canada
derek beaulieu's Prose of the Trans-Canada

derek beaulieu’s Prose of the Trans-Canada is an epic inscribed scroll, a graphemic saga as Odyssean and graphic a roadtrip as traveling the eponymous Trans-Canada highway. The 16” x 52” work is named after Blaise Cendrars’ monumental Prose of the Trans-Siberian (1913), a milestone in the history of artists books and visual poetry.

beaulieu writes that naming it after Cendrars' work, “places it within a continuity of engagements with the artist's book (as Cendrars' volume is considered an early progenitor of that form). Cendrars’ Prose of the Trans-Siberian was also a reply to the architecture of modernism: if 150 copies of Cendrars’ volume were placed end-to-end, the result would be the same length as the height of that symbol of Parisian Modernity, the Eiffel Tower.

Dan Waber’s Another Tool for Discovering your Favorite Letter

When is a text not a text?

Dan Waber’s Another Tool for Discovering your Favorite Letter
Screen Capture: Another Tool for Discovering your Favorite Letter (the letter K)

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.

It's poetry but it ain't

Objects in visual poetry can be read closer than they appear

Visual poetry has always fascinated me because it’s poetry but it ain’t.

It often contains its own borderblur. Image < --> language

Imaguage. Langmage.

What the oral is to the written, visual poetry is too.

What kind of reading is needed to read visual poetry? Is it different than reading other poetry? Than looking at visual art? Than reading ‘text’ in visual art?