A pioneer in the field of ethology and biosemiotics, Jakob von Uexküll’s work has fundamentally transformed the way we understand the animal’s spatiotemporal extension by razing anthropomorphic perspectivism in the sciences, complicating our relationship (or lack thereof) to our nonhuman animal compeers while forcing us to rethink deeply internalized notions of anthroexceptionalism.
[T]he spider carries within its web a complex picture of the prey it is to capture — its web is a map of and a counterpoint to the fly. — Elizabeth Grosz
We may assume that where there is a foot, there is also a path; where there is a mouth, there is also food; where there is a weapon, there is also an enemy. — Jakob von Uexküll
If you are interested in contemporary Chilean Poetry, and you haven’t heard the name Juan Luis Martínez yet, then something is terribly wrong: you’ve been missing a lot. The good news is we are going to fix that right away.
Juan Luis Martínez was born in Valparaíso, in 1942. Son of the general manager of a reputable local steamship company, and a woman of Nordic origin coming from a very traditional family, he spent most of his life between the cities of Valparaíso, Viña del Mar, and Villa Alemana (Germantown!). As soon as he started high school, he abandoned his studies to embrace the bohemian lifestyle of the late ’50s in Valparaíso.
Susan Howe’s recuperation of Emily Dickinson’s visual prosody marks a pivot point in American poetics, insofar as it calls attention to the long effaced but paradigmatically American enterprise of self-invention that Dickinson’s practice depicts. And in depicting her work, the picture is the work, hence the holograph images that for the most part replace block quotes in texts like Howe’s My Emily Dickinson and the essay from which I’ll cull this epigraph, “These Flames and Generosities of the Heart.”
This space is the poem’s space. Letters are sounds we see. Sounds leap to the eye. Word lists, crosses, blanks, and ruptured stanzas are points of contact and displacement. Line breaks and visual contrapuntal stresses represent an athematic compositional intention.
Howe, and by extension Dickinson, are reference points for discussing the work of Mark Booth, printmaker by training, a painter, who also works in sound and performance, but whose practice is in some sense reducible to writing.