Poems and poetry as experiential art experiments, created by a dedicated core, sparking consciousness river, word slurry. A harvest of poems and creative thought from a creative collective cadre.
Daniel, These word/graphic/play poems have not gone unnoticed with me. I do feel there is a breaking out of bounds going on, for sure! And there is something else, too, here that I have felt and been sitting with before I write or comment to you. I'm touching on it a little more each time I look again/re-view/taste these.
Something clear/fresh/free comes through for me in both "300" and Vul for me on Fights With Poems. As I dropped in and felt, what I notice in my 'reading' is that there seems to be something obscuring the other poems, almost a mask-like quality, which I sense comes from the graphic interface you've chosen to articulate these with. It's as if there is an absence of you in them or that there is something replacing the 'you' that I feel in 'your' work.
I don't feel this with the poems you have drawn out in pencil, either. So, my question is how would these poems work with the same font and scale of font? Right now these are evoking for me something of an era of graphic design that I feel is not what you are pointing to, but what ends up getting pointed to back handedly.
I want to see all of them evolved and really mastered, which is what I feel the beginnings of in the two that mentioned earlier. I love "300." Bravo! and Vul really gets me to sit with you and stay!
It is cool with me Janice, coming from you, and you as IMUNURI community, which is I think partly why we're all here.
Also cool coming from you because you have been so key to my inspiration into this direction, and I feel us all inspiring each other--Rachel, J, Scooter--to experiment with typography, layout, format, physical form, medium, etc.
I don't know if I would be experimenting this way--and yes, the experiments feel "early"--without the influence of your writings here. I'm thinking esp. of the double-hourglass shape poem... Also feeling moved by Ken Burns Jazz documentary series and the bebop musicians...
But I am indeed struggling to stay present and figure out HOW to make the choices once all the choices become available: font, font size, font color; character spacing, height and weight; sub and superscript, rotation, overlapping--and that just scratches the surface of what's available in InDesign... so the HOW is most perplexing and exciting. How to convey something partly ineffable in a way that is present and also communicative (rather than cryptic) and also playful like a playground.
So I am happy you'd like to see these evolved and mastered. Me too! It may take a while :) And thanks for steering me toward 300 and Vul, which also have been my favorites so far (in addition to "like sticks" on IMUNURI).
Daniel,
ReplyDeleteThese word/graphic/play poems have not gone unnoticed with me. I do feel there is a breaking out of bounds going on, for sure! And there is something else, too, here that I have felt and been sitting with before I write or comment to you. I'm touching on it a little more each time I look again/re-view/taste these.
Something clear/fresh/free comes through for me in both "300" and Vul for me on Fights With Poems. As I dropped in and felt, what I notice in my 'reading' is that there seems to be something obscuring the other poems, almost a mask-like quality, which I sense comes from the graphic interface you've chosen to articulate these with. It's as if there is an absence of you in them or that there is something replacing the 'you' that I feel in 'your' work.
I don't feel this with the poems you have drawn out in pencil, either. So, my question is how would these poems work with the same font and scale of font? Right now these are evoking for me something of an era of graphic design that I feel is not what you are pointing to, but what ends up getting pointed to back handedly.
I want to see all of them evolved and really mastered, which is what I feel the beginnings of in the two that mentioned earlier. I love "300." Bravo! and Vul really gets me to sit with you and stay!
(is this kind of 'criticism' cool with you?)
~ Janice
It is cool with me Janice, coming from you, and you as IMUNURI community, which is I think partly why we're all here.
ReplyDeleteAlso cool coming from you because you have been so key to my inspiration into this direction, and I feel us all inspiring each other--Rachel, J, Scooter--to experiment with typography, layout, format, physical form, medium, etc.
I don't know if I would be experimenting this way--and yes, the experiments feel "early"--without the influence of your writings here. I'm thinking esp. of the double-hourglass shape poem... Also feeling moved by Ken Burns Jazz documentary series and the bebop musicians...
But I am indeed struggling to stay present and figure out HOW to make the choices once all the choices become available: font, font size, font color; character spacing, height and weight; sub and superscript, rotation, overlapping--and that just scratches the surface of what's available in InDesign... so the HOW is most perplexing and exciting. How to convey something partly ineffable in a way that is present and also communicative (rather than cryptic) and also playful like a playground.
So I am happy you'd like to see these evolved and mastered. Me too! It may take a while :) And thanks for steering me toward 300 and Vul, which also have been my favorites so far (in addition to "like sticks" on IMUNURI).