ZSWOUND

New - eyePad Technology

2012-01-21T01:09:00.000-08:00

The eyePad is a line of prostheses designed, developed and marketed by Apple (aka Apple_of_my_Eye Inc.), primarily as a platform for a unique visual experience. The actual name is reportedly a homage to Pad-Thai, the favourite dish of some Apple engineers. The eyePad uses an Eye-Fi connection to access local area networks and navigate any local environments without the assistance of deceitful physical applications.

The eyePad's touchscream display is a liquid crystal display, with fingerprint- and scratch-resistant surface. Like the eyeGlass, the eyePad is designed to be controlled by bare fingers. Boxing gloves and styli do not work, although there are special pressure-triggered styli designed for this use (see illustration below).

The eyePad has an ambient light sensor which constantly adjusts brightness to the lowest. Its ultra-sensitive accelerometer will be able to sense any movement and will switch between static and mobile modes. Unlike several competitors eyePad's built-in applications support rotation in all orientations, including upside-down and allow the customer to explore different spatial dimensions.

The eyePad was released with various capacity options for storage depending on age and intellectual ability of end-users. All data, e.g. visions or delusions which for some reason manage to connect to the end user, are stored on the customer's internal flash memory, with no option to expand storage.

The eyePad 2 (below) is the upgraded version of the original eyePad. It provides the ideal interface for blind dates and enriches non-visual activities by permitting non-reading, non-viewing and non-browsing thus making books, periodicals, movies, games and web content completely obsolete.

D.-B.Chirot - Killer Chrome

2012-01-15T06:23:00.000-08:00

D.-B.Chirot_ Killer Chrome

Rem Magazine - Journal of Experimental Writing

2012-01-15T06:10:00.000-08:00

Open publication - Free publishing

Contributers: Rosaire Appel, Carlyle Baker, Miriam Barr, Eleanor Leonne Bennett, John M. Bennett, Michael Berton, John Bucklow, Valentina Cano, Stephanie Christie, Barnaby Dromgool, Raymond Farr, Carl James, Marco Giovenale, Mariangela Guatteri, Kristina Hard, Amelia Harris, Jeffrey Holman, Kristina Jenson, Matt Margo, Joseph Musso, Vaughan Rapatahana, David Prescott-Steed, Massimo Sannelli, Fabio Sassi, Andrew Topel, Nico Vassilakis, Changming Yuan.

Print colour version available at lulu.

Black and white version here.

Yves Klein - End of the Void Story

2011-09-25T04:24:00.001-07:00

To see Episode 1 on Zswound: here.

Remix - Remixthebook by Mark Amerika

2011-08-14T03:32:00.000-07:00

About remixthebook
“Think of remixthebook as DJ Tool made from rhythms downloaded, ripped, mixed, spliced, diced, and burned into our collective hard drives, then re-uploaded. It’s a piece of conceptual hardware that exists somewhere between how we experience information and how information aesthetics has transformed the human condition. It’s that deep.”

The Remixes
"Amerika, along with co-curator and artist Rick Silva, has invited over 25 contributing international artists, poets, and critical theorists, all of them interdisciplinary in their own practice-based research, to sample from remixthebook and manipulate the selected source material through their own artistic and theoretical filters. The curators were especially excited about working with colleagues who formally experiment with digital video, audio remixes, critical text collage, computer imaging, social media, glitch, poetry, electracy, copyleft, and online performance."

ZSW-M - A Zswound Project (published)

2011-08-01T00:07:00.000-07:00

ZSW-M (Z45 to Z66 within the Zswound-Mania project) has been published as an ebook and is available at GAMMM. Many thanks to the GAMMM team for their work on this "document". ZSW-M is a collaborative work by Erik K. and Xavier S.

------------

Reminder.
Zswound-Mania was a project focused on the translation, modification and alteration of a single stimulus. In other words, all posts repeat more or less the same thing. All the boring outputs from this experiment are numbered:
**Z0 is the stimulus
**Z1 to Z44 are available on line on Zswound-Mania
**Z45 to Z66 are only available on PDF and are now hosted on GAMMM.
**Z67 to Z72 are generated with the Meaning Eater engine
**Z74 to Z80 are based on a wide range of automatic processes (text/image generator) as we have become very lazy over time.

This project is now more or less dormant.

Erasure + Animation : Works by Rachel Kwak

2011-07-10T08:07:00.000-07:00

A World I Never Made

A World I Never Made from Rachel Kwak on Vimeo.

"Created by as a final project by animator Rachel Kwak in my Spring 2010, "Experimental Animation" class at Pratt Institute in Brooklyn, this film is a beautiful example of visual poetry. It is based on A.E Housman's "A World I Never Made". A variety of techniques are employed including; cut-outs, hand-drawn, stop motion and replacement animation. Music is "Eon Blue Apocalypse" by Tool." (Rachel Kwak)

--------------------------------------------
Secret

Secret from Rachel Kwak on Vimeo.

"Crux Desperationis" - journal (review)

2011-07-02T02:03:00.001-07:00

Following the tradition of pragmatic eclecticism, "Crux Desperationis" journal is seeking to meld various self-defense methods together into a unified conceptual whole. With reference to the stylistic chauvinism that had been displayed by some of their predecessors in this field, the editors simply endeavoured to harmoniously gather the really practical methods of literary defense, whatever their origin, and especially to combine them into an international journal.

The system displayed by "Crux Desperationis" is notably non-scientific and largely eschewed the more typical 2000s approach to self-promoting writing, which is to present the reader with a series of individual “tricks” or literary techniques. Instead, "Crux Desperationis" presents their readers with a comprehensive progression of fighting methods and writing tactics, with an emphasis upon combative practicality.

Main techniques presented in "Crux Desperationis":

The chop blow: DEREK BEAULIEU

Insertion of the knees: ROB FITTERMAN

The elbow strike: ROMAN LUJAN

The headbutt: VITTORE BARONI

The hip throw: SHARON KIVLAND

Special commanding of the leg: MARCO ANTONIO HUERTA

The kick back: CRAIG DWORKIN

Kick to the face: BELEN GACHE

Use of the legs in ground combat: RICHARD KOSTELANETZ

Remarks on the coup de pied bas: SIMON MORRIS

Defence against two arm locks: INGE GRAO

Parry of the scissors: CLAUDE CLOSKY

Ordinary throws: RICCARDO BOGLIONE

Relative utility of the cane in real combat: KENNETH GOLDSMITH

Stomach throw: PABLO URIBE

Arm lock no. 2: MICHALIS PICHLER

Throw from behind: MASSIMO PASTORELLI

Good posture in the superior position: MIRTHA DERMISACHE

The tactics of combat in the street (and editors of "CD"): RICCARDO BOGLIONE & GEORGINA TORELLO

Download from Ubuweb: "Crux Desperationis" (pdf).

Locus Novus - A synthesis

2011-06-21T12:17:00.001-07:00

LOCUS NOVUS

A synthesis of TEXT / IMAGE / SOUND / MOTION

Locus Novus is a multimedia environment which blends sensations and creates a unique and enriched reading experience. Some of my recent favourite pieces include:

**Pop up Poptagon by Dorothee Lang & Karyn Eisler

**Anti-Twitter by Harold Jaffe

**A Plague of Cities by Gary Lain

**TetherWorld by Shelly Rae Rich

All texts on Locus Novus are briliantly animated / brought to life / captured by Faruk Ulay who has exposed some of his "thoughts" in this free but so structured composition: Pensées.

Hans Courbet The Younger - The Origin of the World

2011-06-19T02:09:00.001-07:00

Hans Courbet the Younger (1497 — 1877) was an artist and printmaker who led the Realistic Renaissance (from ri- "again" and nascere "birth") movement. Hans Courbet painted figurative compositions, landscapes, seascapes, still-lifes, murals, religious works and he is best known as one of the greatest portraitists. He courted controversy by addressing social issues in his work, and by painting subjects that were considered vulgar, such as the bourgeoisie, peasants, merchants and working conditions of the rich.

His work belonged neither to the predominant Romantic nor Neoclassical schools. His work did not belong either to Baroque, Rococo, Expressionism, Impressionism, Symbolism, Dadaism, Surrealism, post-modernism, pop art, mannerist Bauhaus, post-constructivism, cubism, early and late futurism, Pre-Raphaelite minimalism, abstraction, anti-fluxus decadentism, neo-conceptual escapism, neo-classical lettrism and situationist land art. His work actually had nothing to do with the Hudson River School.

His work, along with the work of Honoré Cranach and Albrecht Millet, became known as Realistic Renaissance (Re-birth). For Hans Courbet, Realistic Renaissance (re-birth) dealt not with the perfection of line and form, but entailed bizarre and unexpected handling of symbols, suggesting a deformed perception of reality through sensual observation by the artist while portraying the irregularities and horrors in nature. He depicted the absurdity in life, and in so doing challenged contemporary academic ideas of art. History painting, which the world esteemed as a painter's highest calling, did not interest Hans Courbet, who stated that "Horror... Horror has a face... and you must make a friend of horror." Instead, he believed that the only possible source for a living art is the artist's own experience of life and death.

At the end of his life, Hans Courbet the Younger painted a series of increasingly anamorpho-erotic works which culminated in The Origin of the World (also known as the ambassadors), which depicts a close-up view of an exposed female body giving life to a skull thus "incorporating" mortality in the very act of birth.

He is called "the Younger" to distinguish him from his father, Hans Courbet the Elder, an unknown painter of the Late Gotham City school.

E. E. Cummings - Little ladies (polyglossia)

2011-06-13T07:09:00.000-07:00

little ladies

than dead exactly dance

in my head,precisely

dance where danced la guerre.

Mimi à

la voix fragile

qui chatouille Des

Italiens

the putain with the ivory throat

Marie Louise Lallemand

n’est-ce pas que je suis belle

chéri? les anglais m’aiment

tous,les américains

aussi….”bon dos, bon cul de Paris”(Marie

Vierge

Priez

Pour

Nous)

with the

long lips of

Lucienne which dangle

the old men and hot

men se promènent

doucement le soir(ladies

accurately dead les anglais

sont gentils et les américains

aussi,ils payent bien les américains dance

exactly in my brain voulez

vous coucher avec

moi? Non? pourquoi?)

ladies skilfully

dead precisely dance

where has danced la

guerre j’m'appelle

Manon,cinq rue Henri Mounier

voulez-vous coucher avec moi?

te ferai Mimi

te ferai Minette,

dead exactly dance

si vous voulez

chatouiller

mon lézard ladies suddenly

j’m'en fous des nègres

(in the twilight of Paris

Marie Louise with queenly

legs cinq rue Henri

Mounier a little love

begs,Mimi with the body

like une boîte à joujoux, want nice sleep?

toutes les petites femmes exactes

qui dansent toujours in my

head dis donc,Paris

ta gorge mystérieuse

pourquoi se promène-t-elle,pourquoi

éclate ta voix

fragile couleur de pivoine?)

with the

long lips of Lucienne which

dangle the old men and hot men

precisely dance in my head

ladies carefully dead

---------------------

Polyglossia on Zswound:

Valéry Larbaud: La Neige

R. Huelsenbeck (Deutsch), M. Janko (English), Tristan Tzara (Français): Poème simultan

The name of the Rose: Salvatore

Raymond Federman - A to Z poem (Logorrhoea)

2011-06-05T09:11:00.001-07:00

****************************************

Published in CrashTest mag (Tlaongue issue) and in Electronic Book Review (Sound version)

Other Ordering projects.

It's a Zswounderful life

2011-05-15T13:29:00.000-07:00

On and on with Zswound

Always Zswounda Cola

A Zswound a day helps you work rest and play

Don't leave home without zswound

I can't believe I ate the whole zswound!

Just Zswoundo it

Keep ZSWalking

Probably the best zswound in the world

Put a Tiger in Your Zswound. Put a Zswound in your engine.

The future's bright - the future's zswound.

The Power to Be Your Best Zswound.

When you say Zswound, you've said it all.

You can't resist the zswist!

Zswound keeps going, and going, and going...

Zswound melts in your mouth - not in your hand.

Only the crumbliest flakiest Zswound

That's handy Harry ! Stick it in the Zswound

We bring Zswound to life

Savour the flavour of Zswound

There's only one Zswound

Don't be vague. Ask for Zswound.

Better living through Zswound.

Zswound stays sharp til the bottom of the glass.

Because Zswound can't drive.

Promise her anything. But give her Zswound.

Not just nearly Zswound. But really Zswound.

Mamma mia, that's a spicy Zswound.

Let the Zswound take the strain.

Come to Zswound and let's get it done.

What's in your Zswound?

Things happen after a Zswound.

Make someone happy with a Zswound.

Don't be an Amber Zswound.

Show me the Zswound!

Full of eastern Zswound.

Double the pleasure. Double the Zswound.

Keep that Zswound complexion.

It's just for me and my Zswound.

I wish they all could be Zswound girls.

I'm cuckoo for Zswound.

Gotta lotta Zswound.

Nobody does it like Zswound.

There's more than one way to eat a Zswound.

Got Zswound?

Beanz Meanz Zswoundz

Have a Zswound and smile.

You presse the Zswound. We do the rest.

Think once. Think twice. Think Zswound.

Give that man a Zswound.

I'm stuck on Zswound. Cause Zswound's stuck on me.

There ain't no party like a Zswound party.

I like the Zswound in you.

Pure Zswound.

I can't believe it's not Zswound.

Where do you want Zswound to go today?

It must be Zswound.

You've always got time for Zswound.

Zswoundborn and bred.

Loves the Zswound you hate.

Life should taste as good as Zswound.

Moving at the speed of Zswound.

Where Zswound is a pleasure.

The world's favourite Zswound.

Make it a Zswound night.

The ultimate Zswound Machine.

Do you, uh, Zswound?

Let the Zswound begin.

The Zswound is mightier than the zsword.

Zswound prevents that sinking feeling.

I want my Zswound.

Let's face the music and Zswound.

The real smell of Zswound.

Ordering Projects

2011-05-07T05:33:00.000-07:00

1) Christof Migone: Single (2008)

The lyrics of 45 songs placed in alphabetical order and

each word is allowed only a single appearance.

*****************

2) Jörg Piringer: Sorted speech 1

"an automatic cut-up experiment. Using speech recognition JP analyzed a video of a speech by barack obama. JP then sorted the snippets (containing a word each) alphabetically.

*****************

3) Zswound: Reordering / Alpha

Mutating Text

Yves Klein - Into the Void

2011-04-24T10:23:00.000-07:00

Into the Void also known as the Cycling Man.

[ ]

Aleatory Compression (2)

2011-04-17T06:17:00.000-07:00

Atypographic Kinetics (AKA asemic kinetics) - Anthology (Part 6)

2011-04-17T06:06:00.001-07:00

MYND ERASER

Book trailer for Michael Jacobson's MYND ERASER, an asemic kinetic work-in-progress blog novel (blovel).

Ghost-Writing - Local Colour by Derek Beaulieu (review)

2011-02-23T14:13:00.000-08:00

A "Ghost"-writer is employed by fiction publishers for several reasons. In some cases, publishers use the "Ghost"-writer to increase the number of possibilities or variations that can be offered by a single book. In others, the "Ghost"-writer is used to deplete fiction from well-known works, from "name" authors in genres such as detective fiction, mysteries, and cryptic novels.

Some critics have recently assumed that the purported author of the New York Trilogy series, "Paul Auster", is actually a pseudonym for a series of "Ghost"-writers who write books in

different styles using a template of basic information as a source of systematic composition.

Some recent "Ghost"-writing, as observed here, also known as local-colour making, consisted in literally translating characters' names into their visual appearance and, at the same time, extracting all fictional indicators, erasing actions, movements, feelings that are expected in the book. Blue became blue, Black became black, Gold became gold, Brown became brown, Green became green and White actually invaded, saturated the entire book thus turning the original story into a backdrop for stable and strongly differentiated characters and, at some point, seemed like an attempt at defying the laws of the blank page syndrome.

Throuh the actual colour-coding which was taking place / space in this piece of work, the "Ghost"-writer was also attempting to render the actual process exposed in the original work which was stated as follows: "His method is to stick to outward facts, describing events as though each word tallied exactly with the thing described, and to question the matter no further. Words are transparent for him, great windows that stand between him and the world, and until now they have never impeded his view, have never seemed to be there" (page 174). So these are the words that the reader will not capture as words have vanished into unwriting: all that is left is a series character-events which take possession of the emptied space and inhabit it with their ghostly and undecipherable presence. This renewed space is unveiled by a ghost-writer known as Derek Beaulieu.

Honey I blew up (SpamPo)

2011-01-29T00:08:00.001-08:00

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**********************************

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********************

Iblewup@xeroxtica.cum

********************

Want some more Spamking?

_Spama Sutra Anthology

_Enlarge your pen_s

Aleatory compression

2011-01-22T10:12:00.000-08:00

Web Projects - Sorry I haven't posted

2011-01-09T10:42:00.001-08:00

Sorry I haven't posted on Sorry I haven't posted. In the past few days, weeks, months and possibly years, I haven't, and for obvious reasons: time, money, life, sickness, pain, willingness (or absence of), mood, accident, traveling, problems, stress, work, error messages and whatnot. Despite my hate for “sorry I haven’t posted" posts, I can't help but posting one just to say I haven't and shouldn't and more importantly to reinforce the void between two posts, or the oblivion in which I almost fell as I was away, unposting. And, sometimes, I wish I was unposting more often and thus contributing to the neo-Bartlebyan community of discontinuing posters. I would prefer not to be sorry for being an un-poster. More "haven't posted sorrow" is available from Cory Arcangel's blog: Sorry I haven't posted.

Homovisual translation - Deemer and Woo: PyongYang TOO

2010-12-05T03:17:00.000-08:00

Adapting Guy Delisle's comic book: PyongYang

Adapting a comic book is something quite obvious and quite remarkably done in many cases (for instance "Sin City"). We are not talking about adaptation here but a genuine reenactement of the original work on a new medium. In this case, Guy Delisle's comic (PyongYang) is here literally tanslated into photographic scenes which mimick the ones initially drawn by the author. What you can see in Deemer & Woo's work is exactly the same scenes with real characters. At times, when a human character was not available, D&W insert the comic version.

When Guy Delisle first went to North Korea (on a job assignment), his entire life was under control and supervision. He would not move without a translator and a so-called guide who were in charge, in his free time, of taking him to the official places (restaurants, sites, museums) and would make sure he would not take any initiatives of his own or escape the official routes and rhythms. And Guy would do so like ALL the visitors (mostly expatriates) to this country thus complying with the rigid local customs.

What Deemer and Woo are also doing (apart from having fun translating this static reality) is epitomising the iterative and never-ending journey of the foreigner in this frozen time/place. This is not about interpreting or describing a frightening life but demonstrating the constraint itself. D&W seem to have chosen to unveil the constraint at work: your body caught in a time and a space which does not belong to you but to the Other (the designer of the comic /of this kafkaian system); your mind and will are devoid of any initiative and brutally restricted to the structure (be it strips or official rules) and to pre-established actions.

Unsurprisingly, the characters in their pictures cannot talk, the words that come out of their mouths are the bublles taken from Guy's comic. Even when Guy had a chance to "escape" for a few hours, D&O have no way out but to stick to the original scenario.

-----------------------------------

Deemer and Woo: PyongYang TOO, A Journey in North Korea is presented on Guy Delisle's website.

Art Projects - Installance

2010-11-11T06:01:00.001-08:00

untitled (declaration)

installance n. : # 0012.A1
type : declaration on a notebook sheet
size : cm 10x13.5
record : lowres shot [see here]
additional notes : left in cyberspace
date : Nov. 16th, 2010
time : approx 15:12pm
place : Zswound

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original location of installance # 0012: left in a parking lot in Rome, p.le dei Partigiani

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All INSTALLANCES to be found HERE

A series of abandoned, cryptic, enigmatic, minimalist messages, some to be lost, some to be found and most to remain abandoned, cryptic, enigmatic, minimalist pieces of uncertainty.

Animated Thought - "First as Tragedy, Then as Farce" (RSA Animate)

2010-11-11T01:55:00.000-08:00

"In this short RSA Animate, renowned philosopher Slavoj Zizek investigates the surprising ethical implications of charitable giving."

UnComic Strips - Crachoir Magazine #4 (2010)

2010-10-30T09:03:00.000-07:00

The new Crachoir (a comics magazine created by Yvang) is now available. The editors, Yvang and Léo Quievreux, have designed a not so chaotic anthology of humourless strips packed with incongruouty and nonsense. The entire project known as "Comic Strips 0% Humour" was, as the title suggests, centred around two main objectives: 1) Assemble a large number of heterogeneous strips from many different artists thus obtaining a mix of very different styles within the 78 pages of the magazine. 2) Ban humour thus contradicting the name of the medium itself known as "comic". The object overall reads like a huge visual cut-up in which the reader is drowned into an endless and furious stream of unconsciousness. Here, there, unexpectedly, curious voices are heard, some understandable, others hardly recognizable. Can we say here that my friend Koloro Koro and myself have contributed to the pandemonium by inserting thanatoerotic visions full of glossolalic eruptions. Difficult to focus on just one scene, one moment or one style, the entire work has its own mysterious coherence (not uniformity) which becomes apparent as you read or move into this dense matter which breeds on accumulation, repetition, intensification and disruption. Ultimately, this "crachoir" is best grasped as a frightening inventory of anatomical distortions: dissolving bodies, melting faces, enlarging mouths, etc. Clearly, the experimental nature of the body is here again displayed and revealed in a wide variety of styles and structures. Despite the "strip" constraint, all participants bring their personnal contribution to the enstrangement or slaughter of the body (suicide, murder, torture, emasculation, etc). The role of the artist seems nicely summarised in this sentence: "Cadavre a les mains dans le monde" (Corpse has got his hands in the wolrd) as if the authors themselves belonged to both worlds, bridging the gaps between the dead and the living, showing landscapes and figures which stand at some uncanny frontier between real and sub-real. The list of participants is just as long and frightening as the credits in a George Romero movie:

Alex Baladi

Gary Atlass

Patrice Bauduinet

J.M. Bertoyas

Agnès Beuneux

Jean Bourguignon

Paquito Bolino

Olive Booger

Ruta Briede

Laetitia B.

Docteur C

Sarah Fisthole

Aisha Franz

Fredox

Gaiihin

David Guedin

Daisuke Ichiba

Joko

Julien Raboteau

Ernest Klavins

Koloro Koro-Javier Kronaver

Jean Kristau

J. & E. LeGlatin

L.L. de Mars

Ludovic Levasseur

4ndr345 M4rch4l

Chloé Mathiez

Jakez Moiré

Hélène Mougin

Anne-Fred Maurer

Matthias Lehmann

Alexandre de Moté

Mika

Ivan Martin

Nuvish

Paul Paetzel

Phil

Gabrielle Piquet

Piotr

Pt'it Marc

Léo Quiévreux

Maël Rannou

Lionel Richerand

Sam Rictus

Richard Papier

Rod

Guillaume Soulatges

Nicolas Tavar

Tony

Yann Tréhin

Marko Turunen

Uni

Véro

Y5P5

Yokogaga

Yoshi

Yvang

Zeami

Announcement - Heike Fiedler (new book & performance)

2010-10-21T10:26:00.000-07:00

dabei

se placer à côté

daneben

vogelflug

les corps

aus

einander

rein

le reste une corvée

gesten

zum überleben

wie wär’ es

could it be

different

wenn

se tenir

debout jus

qu’à la fin

de la journée

stell ich mir

dabei

vor

From Heike Fiedler's book: "langues de meehr", GeDichte - PoeMe, edition spoken script

______________________________

+ Hommage à Henri Chopin:

Heike Fiedler - Steve Buchanan in: henri's shoppin',

hommage à Henri Chopin.

multimédia event: Poesie, sound et autres surprises, comme: 2nd line et mots... en projection.

More info here.

Polyglossia - The Name of the Rose (Salvatore)

2010-10-17T03:20:00.000-07:00

"Penitenziagite! Watch out for the draco who cometh in futurum to gnaw on your anima! La mort e supremos! You contemplata me apocalypsum, eh? La bas! Nous avon il diabolo! Ugly cum Salvatore, eh? My little brother! Penitenziagite!" (Movie version)

----------------------------------------

"Pénitenziagité ! Voye quand dracon venturus est pour la ronger ton âme ! La mortz est super nos ! Prie que vient le pape saint pour libérer nos a malo de todas les péchés ! Ah ah, vous plaît ista nécromancie de Domini Nostri Iesu Christi ! Et même jois m’es dols et plazer m’es dolors… Cave el diabolo ! Semper il me guette en quelque coin pour me planter les dents dans les talons. Mais Salvatore non est insipiens ! Bonum monasterium, et aqui on baffre et on prie dominum nostrum. Et el reste valet une queue de cerise. Et amen. No ?" (original version from Umberto Eco's Name of the Rose)

Zswoundlation - Matsuo Bashô / Frog Haiku

2010-10-07T11:08:00.000-07:00

Remix - [Re]Cuts by Eduardo Navas

2010-10-03T09:36:00.001-07:00

"[Re]Cuts is a remix of image, sound, and text inspired by William Burroughs's aesthetics of tape recording. The video is also influenced by his cut-up method as defined for writing in "The Cut-Up Method of Brion Gysin." The video does not follow the strict cup-up rules professed by Burroughs, but rather considers his aesthetics as a point of reference to develop a non-sensical narrative."

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Kinetic Typography - Anthology (Part 5)

2010-09-26T13:44:00.000-07:00

El Cuarteto de Nos - Ya no sé qué hacer conmigo (Raro)

Kinetic Typography - Anthology (Part 4)

2010-09-26T13:37:00.000-07:00

Alex Gopher - The Child
Video by Antoine Bardou-Jacquet

Erasure - The Commissar vanishes

2010-09-25T09:46:00.001-07:00

"Like their counterparts in Hollywood, photographic retouchers in Soviet Russia spent long hours smoothing out the blemishes of imperfect complexions, helping the camera to falsify reality. Joseph Stalin's pockmarked face, in particular, demanded exceptional skills with the airbrush. But it was during the Great Purges, which raged in the late 1930s, that a new form of falsification emerged. The physical eradication of Stalin's political opponents at the hands of the secret police was swiftly followed by their obliteration from all forms of pictorial existence.

Photographs for publication were retouched and restructured with airbrush and scalpel to make once famous personalities vanish. Paintings, too, were often withdrawn from museums and art galleries so that compromising faces could be blocked out of group portraits. Entire editions of works by denounced politicians and writers were banished to the closed sections of the state libraries and archives or simply destroyed."

The Commissar Vanishes
The Falsification of Photographs and Art in Stalin's Russia

By DAVID KING
Metropolitan Books Henry Holt and Company

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The exhibition at the Newseum.

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Other famous altered images in the former Soviet Union.

Best post ever on Zswound

2010-09-14T11:36:00.001-07:00

Scotophilic Bibliophobic Postal Gaslight

(composed of only the letters abcghijlopstx)

By Angela Genusa

[Celebrating 200 posts on Zswound. The above post, for some obscure reasons, is the most visited page on Zswound]

Erasure projects: Garfield minus Garfield

2010-09-12T07:47:00.001-07:00

Garfield minus Garfield

[Garfield Minus Garfield is a site dedicated to removing Garfield from the Garfield comic strips in order to reveal the existential angst of a certain young Mr. Jon Arbuckle. It is a journey deep into the mind of an isolated young everyman as he fights a losing battle against loneliness and depression in a quiet American suburb. ]

Rachel Defay-Liautard: [] were really impossible

2010-09-12T07:43:00.000-07:00

Spama Sutra Anthology

2010-09-10T14:55:00.001-07:00

Spama Sutra - An anthology

------------------------------------

Poem 1

SPOERMAMAX is a scientifically validated vherbal nutritional blend to enhance fertility and inspiration by improving spoerm quality, readability and pleasure.

SPOERMAMAX is formulated to:
+ Improve overall spoerm production
+ Improve spoerm quality
+ Improve spoerm integrity
+ Improve spoerm morphology
+ Improve spoerm fertility
+ Improve spoerm publication

This premium combination of vherbs, adjectives and talent improves overall health and helps address many of the deficiencies known to decrease recognition and alter human communication.

Erasure Projects - Erasure in Art by Richard Galpin

2010-08-16T03:57:00.000-07:00

[Joseph Kosuth, Zero and Not]

Erasure in Art, Destruction, Deconstruction and Palimpset by Richard Galpin "Introduction. My interest in erasure stems from my work as an artist. I am involved in work that deletes various texts, and am excited by the subtle play that erasure seems to create when executed in certain ways. My work is not about the suppression of text, or the negation of what the text represents, but is about obscuring the words in order to create a different relationship between the text and the viewer. When I first started this body of work I felt that the erasure of language in art, rather than being destructive, contained the potential to provoke an ambiguous and shifting reading of both the original text and the work. If not destructive then, could erasure be deconstructive? This is something that I will explore in this writing. I will then discuss the notion of the palimpsest as a concept that seems relevant to erasure in art."

----------------------

More about Erasure, see index under Erasure section.

ENLARGE YOUR PEN_S

2010-08-04T13:34:00.001-07:00

************************************

Heyyou,

Lookking for foulmo strumpapornaMEDS?

Readdyto getlukkilookkiin the Moofooloodd pfor Lwhorve?

Kantyohav gorlayorgirls all trovarrhounnight?

Wantyor blandaddydoodled thingcrookly back?

Wilyobe readdaddydump atheright drumstrumtrumstrummoment?

Wantto feelmore appladdykowerfulll asa mandamandappapparrass?

Lookikinkykanking pfora mnewwayto akroimprovyor sakroidverjakakulation?

???????????????????????????????????????????????????????????

=> Noooomooooor chumminarounddoktorious visits

=> Noooomooooor kocksipastippastagimpychimpotence

=> Noooomooooor gambarrassment inthe bediddilroomullunukkun?

=> Noooomooooor eeerektallailakaaputtt babaddaddyxfunction

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

-----------------------------------------------------------------------------

toohoohOrdernow:

Ciiialyztooryzooyatupperstrippuckputtanach

-----------------------------------------------------------------------------

toohoohOrdernow:

Viagharaghgraddaghsemmihsammihnouiboostacarcarcataractackinarcokstar

-----------------------------------------------------------------------------

80%shhhavinghhobixhatoux

-------------------------------------

CLICK TO ENLARGE YOUR PEN_S

James Braithwaite and Alex Kurina: I met the walrus (dir. Josh Raskin)

2010-08-03T14:56:00.000-07:00

Animated short film using John Lennon's original interview by Jerry Levitan.

R. Mutt Sticker project

2010-07-27T10:52:00.000-07:00

R. MUTT STICKER PROJECT

Kinetic Typography - Anthology (Part 3)

2010-07-19T13:14:00.000-07:00

Angels And Rascalls (Typographic Dada Poem)

Kinetic Typography - Anthology (Part 2)

2010-07-19T03:05:00.000-07:00

"The results of an extensive exploration with shadows, the One Day Poem Pavilion demonstrates the poetic, transitory, site-sensitive and time-based nature of light and shadow." More info.

Fever Ray (Review)

2010-05-20T12:28:00.000-07:00

By far the best thing I have seen and heard in 2009; fascinating sounds wrapped up in amazing images (the videos are truly grabbing and inspiring).

Shame for the lyrics, mostly plain, non descript, vaguely supernatural, disconnected it seems but that is the only weakness if I may say because Karin Dreijer Andersson's singing is almost glossolalic and quite similar to that of Liz Frazer (Cocteau Twins).

Apart from that, the entire album is a haunting and sombre journey through frozen landscapes, empty nights with under cover and stifling sensations all the way through. Very little joy, hardly any breathing space.

And then there are those two shamanic singers, man and woman, whose voices are coming out of nowhere and singing, low and deep, fading memories and desperate hopes. Their visionary chants are supported by an amazing range of percussive effects which create a very peculiar pulse: either peaceful, tense, thrilling or ecstatic.

Overall, this album is taking us back to these ancient times and realms where 'Dead can dance' used to reign and to deliver their sybilian messages to their entranced audience. Still this fever is less catchy, less conspicuous, almost atonal but all the songs, even those that may sound less melodic, do have this ray or this fear that is creeping behind the eyes.

Finally, I would say this album is more voodoo than mystic, it has been designed to be murmured in the woods, alone and barefoot by a fire, but not to be sung in chapels or amongst sharing crowds; it is creating a unique and personal relationship and everyone is free to merge their own dreams within this dream.

Kinetic Typography - Anthology (Part 1)

2010-05-03T12:56:00.000-07:00

FOUND Series

2010-04-14T23:38:00.001-07:00

Street Flyer

Posted at Ubuweb's Outsiders page

Poem

2002 - Swarthmore, Pennsylvania

In Found Magazine

Hand-written zine (without title)

2006 - Tours (France)

Complete document uploaded at rocambolbijou.

Alejandro Taliano - Dewriting (2)

2010-04-14T00:24:00.001-07:00

Rtón 11

_dewriting and simultaneousm of the original manuscript CARTON, a Gustavo Nielsen's story
_text to speech pronunciation: catalan female / catalan male
_spanish pronunciation voice: Alejandro Taliano
_2009

TEXT:
omab, ompecab, ngeni

uieta

areci encil, scomu

rtón
latafor

latafor

----------------------------------

Rtón 07

_dewriting and simultaneousm of the original manuscript CARTON, a Gustavo Nielsen's story

_text to speech pronunciation: catalan male / english female
_2009

TEXT

7

C

ercil, ercil
egur

elot, horiz mbié
antid horiz, antid elot arecí

horiz aluó

elot

elot

roporc

---------------------------------------------------
Dewriting is a deconstructive technique for producing acoustic literature.
By bleaching of an original text, it releases a new text - phonetic - underlying semantic geological layers beneath.

Alejandro Taliano (1969)
visual artist, sound poet, creator of Dewriting
lives and works in Buenos Aires
To hear all the works: ULEEX

Alejandro Taliano - Dewriting (1)

2010-04-14T00:12:00.000-07:00

Conditioned Reflexes and Inhibitions / page 107

_dewriting and simultaneousm of the Ivan Pavlov´s investigation
_voices, clicks consonant and exhalations: Alejandro Taliano
_sounds: Anton Ignorant
_recording alive / 29.11.09 / meeting Neurología / Fernando Goin´s atelier / Buenos Aires
_2009

---------------------------------------------

Conditioned Reflexes and Inhibitions / page 81

_dewriting and simultaneousm of the Ivan Pavlov´s investigation
_spanish pronunciation voice: Alejandro Taliano

_2009

Erasure Projects: Erasing Mallarmé's UN COUP DE DÉS JAMAIS N'ABOLIRA LE HASARD

2010-04-09T01:47:00.000-07:00

1969: MARCEL BROODTHAERS

2008: MICHAEL MARANDA

2008: MICHALIS PICHLER

Erasure projects: Robert Rauschenberg - Erased De Kooning

2009-12-06T10:13:00.000-08:00

"Ambiguïté du rôle joué par De Kooning: père à tuer ou sponsor contraint. [...] L'absence n'y joue pas le rôle de principe, n'engage aucun jugement de valeur susceptible de constituer un modèle. S'il devait néanmoins s'agir d'un principe, ce serait en son sens premier d'élément constituant, c'est-à-dire d'origine. Le choix de l'absence ne désigne pas tant, ici, l'aire morale et esthétique de l'oeuvre à venir que la tabula rasa nécessaire et insuffisante du premier élan et des intuitions du jeune artiste" (Jean-Yves Jouannais, Artistes sans oeuvres, Verticales, p.171)

-----------------------------------------------

"I was no threat"

Poetry meets illustrators: Matthew Zapruder + Martina Hoffmann

2009-11-11T01:53:00.000-08:00

Graphic novel based on Matthew Zapruder's poem “The Pajamaist” illustrated by Martina Hoffmann and published by Luxbooks.

Vizsound: DB Chirot - Zero Poem

2009-11-11T01:44:00.000-08:00

Poetry + Comics = Poemics

2009-10-24T10:33:00.000-07:00

"one poemic, two poemics... so poemics is an art between poetry and comics. what does it mean? is there a need for such an art? well, there are many kinds of arts out there, some are really well known and make people famous, and some are only practiced by a little group, by one person or even by none. I hope poemics will have some future, and that there will be albums, exhibitions and other forms full of poemics. It would be nice to think and write a lot about the theory, but I guess it is even more important to create poemics. so let me invite you to the poemics project, let's do it! "

***************************

POEMICS, an exciting project about blending genres.

Erasure works - Wave Books

2009-10-24T10:00:00.000-07:00

Wave Books is a poetry press which proposes books based on erasure. Their website has a page dedicated to erasure which allows you to create your own erasure from a number of source texts. This one was done by me.

A Brief History of Erasure Poetics -Travis Macdonald

2009-10-24T03:04:00.000-07:00

A Brief History of Erasure Poetics by Travis Macdonald (Jacket Magazine)

"The poetry of erasure is taking place all around us. Underneath the pavement, behind newspaper headlines, on paste-layered billboards and graffiti-laden walls, our communal landscape is continuously peeling away and papering over itself. Its very surface is a living thing in flux between the dueling processes of decay and renewal, driven in the name of progress to adapt to the shifting contextual demands of culture or be replaced, removed, re-imagined. While this process can, at times, be artificially postponed, nothing escapes its effects forever. This world demands of its denizens a constant and vigilant revision of form."

Erasure Projects - Michalis Pichler: Un coup de dés

2009-10-04T04:13:00.000-07:00

UN COUP DE DÉS JAMAIS N‘ABOLIRA LE HASARD (sculpture)

Comment by Michalis Pichler:
"Un Coup de Dés Jamais N'Abolira Le Hasard (A Throw of the Dice will Never Abolish Chance) is a book by Michalis Pichler published 2008/09 in Berlin. The work is a close copy of the 1914 edition of the french symbolist poet Stéphane Mallarmé's poem of the same name, but with all the words cut out by laser, in a way that corresponds directly to the typographic layout used by Mallarmé to articulate the text*.A Preface features the entire poem written as a block of text with each line separated by a slash (/). This block-transcription of the Mallarme-Text was carried out in 1969 by Broodthaers. 12 double spreads follow, with immaculately cut out windows standing in for the text. When turning the pages, numerous shadows are being generated by the cutouts.
The work is soft bound and feels quite insubstantial. The cover is a facsimile of the original cover as published in 1914 by Librairie Gallimard, with the word 'SCULPTURE' replacing 'POEME' (or 'IMAGE') in the centre of the design.

500 copies are produced on paper, 90 on translucent paper and 10 on acrylic glass plates.

Historical note:
* Mallarmé had written the poem in 1897, also saw it published in a magazine called Cosmopolis, but left copious notes as to how it should be typeset, instructions that were finally carried out 16 years after his death, in 1914.
In 1969 this work was appropriated by notorious Marcel Broodthaers, who replaced the words by black stripes. He replaced the classification 'POEME' on the cover by the word 'IMAGE'."

Erasure Projects - Linda Ellia's fight against Mein Kampf

2009-08-23T04:05:00.000-07:00

A few years ago Linda Ellia launched "Our Fight" a project in which she asked each participant to "work" on one page of Hitler's Mein Kampf.

*******************************************

What Linda Ellia said on this project:
"One evening I had the idea of inviting people from all conditions and walks of life to participate in producing a collective work. I would cut out and distribute each of the 600 hundred pages of the book [Mein Kampf] randomly, or to people of my choice. These 600 contributors would represent the deaths of over 6 million deportees.The objective is to express on each page the emotion it evokes. Together we will recreate the book. It will become « Our Combat » "

"Every page returned to me provokes a profound emotion. Together we will experience a new reading of the pages we have rewritten. Do not hesitate to contact me to react, or to participate in this project. I am interested in all of your ideas.This combat is not an isolated act. I intend to follow it up by creating an association for artists involved in defending causes. It will address all forms of artistic disciplines. A Laureate will be elected each year. The role of this award will be to help engaged artists realize their projects."

*******************************************

See the project's site: NOTRE COMBAT.

*******************************************

The range of techniques and approaches used in this project is quite amazing (considering that many of the participants were not artists). Erasing, tearing, stitching, drawing, pasting, combining, hiding, inserting and many other techniques were used to reveal or deny, to condemn or recall. Many of these awesome visions are clearly fighting the ghost which is creeping through these lines, by tearing apart these words, transcending them. Some of the works just show the scars, the wounds while others depict the dreams of a better, safer world.

*******************************************

More about Erasure Projects.

More about the words of the Third Reich.

Frog - Compressed

2009-08-21T05:51:00.000-07:00

PL(FR((P-int/O\ld-ND))G)P!

*****************************************
See Matsuo Bashô: Frog Haiku
(Thirty-one Translations and One Commentary)
on Bureau of Public Secrets
"This is probably the most famous poem in Japan, and after three hundred and more years of repetition, it has, understandably, become a little stale for Japanese people. Thus as English readers, [...]"

***********************************************
Original
Furu ike
yakawazu tobikomu
mizu no oto

***********************************************
More about Frogs
Jean-Pierre Brisset: La grande nouvelle

Poetry meets illustrators - Allen Ginsberg & Eric Drooker

2009-08-02T06:58:00.000-07:00

On Eric Drooker's Website:

ILLUMINATED by Allen Ginsberg illustrated by Eric Drooker:

"A collaboration between two visionaries of different generations: Ginsberg, quintessential Beat Poet, and Drooker, artist of the Metropolis, have joined forces in this lavish full-color book. The groundbreaking poem "Howl" is included in its entirety, along with dozens of Ginsberg's songs and poems—some available only in this collection—accompanied by Drooker's paintings and drawings, which add a new dimension and urgency to the poets words." + Animated sequence from this book also visible here.

Invented Languages - Merdogon

2009-07-14T05:22:00.000-07:00

LEO'S CARAX - HYMN TO MERDE

Merdogon is an invented language created by Leos Carax. The way this language was constructed remains a mystery but it sounds beautiful especially through the mouth of Denis Lavant (the actor in the video) who is a sort of modern Antoine Artaud possessed by his repetitive imprecations and furious glossolalia.

Those who know Denis Lavant, one of the most intriguing and fascinating French actors will be thrilled to see his amazing performance in this new video clip. And those who don't, will discover his hectic body, his terrible groans and his angular face serving this incredible language of his: the language of "MERDE" (SHIT).

For some bizarre reason, Leos Carax called this language: MERDE; probably implying that the mouth is the anus of our soul, that our thoughts can deliver stinking messages, that our words are loaded with the most depraved meanings. Well maybe, or maybe not. Anyway, those who do not see the poetry in this song should probably move to another blog or see this other incredible performance of Denis Lavant in UNKLE's video, Rabbits in your headlight (feat. Thom Yorke).

***************************
A clip by Leos Carax, inspired by his film "Merde" (part of the feature film "Tokyo!'), with Denis Lavant singing in Merdogon (the language invented for the film). **Music : Doctor L. **Lyrics : Lavant & Carax. **Featuring Alison Mosshart (VV from The Kills). **Images : Caroline Champetier. **Editing : Nelly Quettier

Erasure Projects - erased projections

2009-05-20T11:10:00.000-07:00

** The O Mission Repo by Travis Macdonald: another recent shadow filled with traumatic calls, with synchronic light about a subject as legal as old letters found in memories (source text: The 9/11 Commission Report)

**The ms of m y kin by Janet Holmes: The idea is that the page is a delicious coincidence: two words must reflect the speakers and my luminescent intention behind them, in Iraq (source text: "The Poems of Emily Dickinson")

**Radi Os by Ronald Johnson: If you teach Lost excision with an elegant constellation, the first fruit of that forbidden death is quite a revision! There's nothing greater about the chosen rose out of Chaos. Think of it as the latent argument of my vision and order the universe now comparing with the originals from Lost versions that I don't remember or, if you like, you could call it a home (source text: Milton's Paradise Lost).

**A Humument by Tom Phillips: Like most angels in a withdrawn and humourless mood, the verbal disposition of the landscape, if occasionally tortuous, was first divided into an earthy sound and an attempt to fall in love with a pale Requiem: after interlude. Yet a new quest started. As a result of some kind of impulse this slow being was not unaware of the need to be a reasonable example of massive deconstruction: in a sense, the world exists in order to end (source text: A Human Document by W.H. Mallock).

**[where late the sweet] BIRDS SANG by Stephen Ratcliffe: As opposed to meaning itself, all traces of negative echoes, hidden within, suggest the absence of dividends, demanding a framework for dramatization. In this sense, we can begin to lament — we can mutate and derive meaning from a comparison between fruitless separation and my present feeling (source text: Shakespeare’s Sonnets).

**The Tibetan Stroboscope by d.a. levy: Apparently the opening of the book was not part of the aesthetic of this culture but for now this somewhat sloppy avoidance integrated a strong sense of the necessity of mutual destruction. This emphasizes a more intense and more urgent elitism.

**Nets by Jen Bervin: Upon first glance, protean indeterminacy depends upon a Humument perspective, from pole to pole. Through the golden eye refashioning apotheosis, playful images suggest a rubbing from an old RADI OS perpetually tracing The Fiction of light. At least one weakness engenders a startling effect of culmination beyond pleasure and life (source text: Shakespeare’s Sonnets).

**Thus & by Derek Henderson: The following contraction is conspicuous by its presence devoted to quiet announcement While many of the missing fascinations include the arrival of possessive forms. Given that only silent dwarfs draw the reader’s attention, we see that supple changes escape the patternless pattern of appropriation / renunciation (source text: Ted Berrigan’s The Sonnets).

***************************************************
And also:
**Al Hitman's Eaves of Ass (after Whitman)
**Austin Kleon's Newspaper Blackout Poems
**Dan Waber's collective Altered Books
**And in French F. Serra's Lierre (after Lacan's Lituraterre) etc.

***************************************************

Zardoz, another famous reference to erased literature.

And within the realm of comics, Jochen Gerner's TNT (after Hergé's Tintin en Amérique)

Le Plancher de Jeannot (Art Brut)

2009-05-15T12:57:00.003-07:00

"THIS" is called "Jeannot's wooden floor" (Le Plancher de Jeannot).

Prior to becoming a breathtaking piece of Art Brut, this floor belonged to a farm which was owned by Jeannot's parents. His father had committed suicide (reasons remain unclear). Jeannot lived in this isolated farm with sister and mother. The three of them lived as outcasts and never mingled with the neighbours or the town folks. At nights, he used to ride his tractor and drive around their property with a gun to prevent any hypothetical intrusion. He would never let anyone in and started becoming highly aggressive. In 1971, Jeannot was a young man then (33 years old) who suffered from delusions and an intense paranoia. He never saw a doctor but some testimonies (occasional visitors) all indicated serious signs of "madness". When their mother died, brother and sister first accommodated her by the fireside so that she would “keep warm”. Their mother was buried a few days later under the staircase and Jeannot went into extreme seclusion inside his bedroom. Jeannot started to write, literally carving the wooden floor with his knife. His bedroom floor was turned into an open book of incredible size (15 square meters) on which he recorded his hate, his fears, his panic. At the same time, Jeannot stopped feeding himself and progressively starved to death. Two decades after, in 1993, his sister Paule was found dead in the pigsty dressed with rags taken from potato bags: she had never left the house and for all these years had refused all kinds of assistance. What the furniture dealers found when they entered the house was a real pandemonium, an incredible amount of junk had invaded all the rooms but there, in a bedroom, their attention was struck by the notes written on the floor. The latter was sold and ended up in the hall of a pharmaceutical company which is involved in the treatment of schizophrenia. "Jeannot's wooden floor" was recently donated to the Hôpital Sainte-Anne where it is being exhibited. Jeannot's work is now recognised as a masterpiece of Art Brut. The full text is transcribed below.

Jeannot' text:

"La religion a inventé des machines à commander le cerveau des gens et bêtes et avec une invention à voir notre vue à partir de rétine de l’image de l’œil abuse de nous santé idées de famille matériel biens pendant sommeil nous font toutes crapulerie l’Eglise après avoir fait tuer les juifs à Hitler a voulu inventer un procès type et diable afin prendre le pouvoir du monde et imposer la paix aux guerres l’Eglise a fait les crimes et abusant de nous par électronique nous faisant croire des histoires et par ce truquage abuser de nos idées innocentes religion a pu nous faire accuser en truquant postes écoute écrit et inventer toutes choses qu’ils ont voulu et depuis 10 ans et abusant de nous par leur invention a commandé cerveau et à voir notre vue a partir image rétine de l’œil nous faire accuser de ce qu’il nous font à notre insu c’est la religion qui a fait tous les crimes et dégâts et crapulerie nous en a inventé un programme inconnu et par machine à commander cerveau et voir notre vue image rétine œil… nous faire accuser nous tous sommes innocent de tout crime tort à autrui nous Jean Paule sommes innocents nous n’avons ni tué ni détruit ni porte du tort à autrui c’est la religion qui a inventé un procès avec des machines électroniques à commander le cerveau sommeil pensées maladies bêtes travail toutes fonctions du cerveau nous fait accuser de crimes que nous n’avons pas commis la preuve les papes s’appellent Jean XXIII au lieu de XXIV pour moi et Paul VI pour Paule l’Eglise a voulu inventer un procès et couvrir les maquis des voisins avec machine à commander le cerveau du monde et à voir la vue image de l’œil fait tuer les juifs à Hitler ont inventé"

Jeannot's work is now visible at the Hôpital Ste Anne, 7 rue Cabanis, Paris 14

VRAOUM ! - Comics & Contemporary Art - La Maison Rouge (Paris)

2009-05-03T05:04:00.000-07:00

[Gilles Barbier - L'Hospice]

VRAOUM ! - Treasures of Comics & Contemporary Art is a thrilling exhibition which will be taking place at the Maison Rouge in Paris from May 28 to Sept 27. More than 200 original strips will be exhibited as well as +80 art pieces from contemporary artists. The curators of this exhibition are David Rosenberg and Pierre Sterckx. Press Release (PDF). Some of the themes explored here include the following: Pioneers, Hergé, Western, Science Fiction, Manga, Speech Bubbles, Super-Heroes, etc.

Note that my friend Inuit Siniswichi (with whom we currently are working on a new book) will be featured in the Vraoum catalogue.

Featured artists:
Chiho Aaoshima ( Japon 1974) , Daniel Authouart (France 1943) , Olivier Babin ( France 1975), Gilles Barbier (Vanuatu 1965), Carl Barks (Etats -Unis 1901-2000) , Virginie Barré (France 1970), Jean-Michel Basquiat (Etats-Unis 1960- 1988), Enki Bilal (France 1951) , Ol ivier Blanckart (Belgique 1959) , François Boucq (France 1955) , Martin Branner (Etats-Unis 1888- 1970) , Émile Bravo (France 1964) , Enrique Breccia (Argentine 1946) , Edmond François Calvo (France 1892-1957) , Mil ton Canif f (Etats-Unis 1907- 1988) , Hsia-Fei Chang (Taiwan 1973) , Roman Cieslewicz (Ukraine 1930- 1996) , Robert Combas (France 1957) Didier Comès (Belgique 1942) , Guido Crepax (Italie 1933-2003) , Robert Crumb (Etats-Unis 1943) , J im Davis (Etats-Unis 1945) , Phil Davis (Etats-Unis 1906- 1964) , Wim Delvoye (Belgique 1965) Bob De Moor (Belgique 1925- 1992) , Hervé Di Rosa (France 1959) , Phil ippe Ber thet (France 1956) , Sammy Engrammer (France 19686) , Erró ( Islande 1932) , Will Eisner (Etats-Unis 1917), Fmur (pseudonyme de Richard Peyzare) (France 1946), André Franquin (1924-1997), Fred (pseudonyme de Fred Othon Arist idès) (France 1931) , Hal Foster (pseudonyme de Harold Rudolph Pinter) (Etats-Unis 1892- 1981) , Philippe Geluck (Belgique 1954) , Jochen Gerner, (France, 1970) , Paul Gil lon (France 1926) , Jean Giraud (pseudonyme : Moebius) (France 1938) , Gotl ib (pseudonyme de Marcel Gotlieb) ( France 1934) , Clarence Gray ( 1902- 1957) , Greg (pseudonyme de Marcel Regnier) (Belgique 1931-1999) , Jean Graton (France 1923) , Keith Haring (Etats-Unis 1958-1990) , Gene Hazelton (Etats-Unis 1919-2005), Hergé (pseudonyme de Georges Rémi) (Belgique 1907-1983), George Herriman (Etats-Unis 1880- 1944) , Burne Hogarth (1875- 1950) , Victor Hubinon (Belgique 1924- 1979) , Pierre Huyghe (France 1962) , Richard Jackson (Etats-Unis 1939) , Edgar P. Jacobs (Belgique 1904-1987) , Beni to Jacovitti (1923- 1997) , Ji jé, (pseudonyme de Joseph Gil lain) (Belgique 1914- 1980) , Art Keller, Walt Kelly (Etats-Unis 1913- 1973) , Harold Knerr (Etats-Unis 1882- 1949) , Peter Land (Danemark 1966), Bertrand Lavier (France 1949) , Pierre La Police, Hyungkoo Lee (Corée 1969) , Liberatore ( I tal ie, 1953) , Loustal (pseudonyme de Jacques de Loustal ) (France 1956) , David Mach (Ecosse 1956), Raymond Macherot (Belgique 1924) , Nikita Mandryka (Tunis ie 1940) , Jacques Mart in (France 1921), Winsor McCay (Etats-Unis 1869- 1934) , David McDermot t & Pierre McCough (Etats-Unis 1952 et 1958) , George McManus (Etats-Unis 1880- 1944) , Phil ippe Mayaux (France 1961) , Ot to Mes smer (Etats-Unis 1892- 1983) , Jean-Claude Mézières (France 1938) , Mariko Mori ( Japon 1967) , Bob De Moor ( 1925- 1992) , Charles Monroe Schulz ( 1922-2000) , Rober t Morris (pseudonyme de Maurice Bervère) (Belgique 1923-2001) , Mr. ( Japon 1969) , Murakami , ( Japon, 1972) , Rivane Neuenschwander (Brés il 1967) , Gosha Ostretsov (Russie 1967) , Richard Felton Outcault (Etats-Unis 1863- 1928) , Guil laume Par is (Côte d’Ivoi re, 1966) , Sylvain Par is (France 1965) , Phil ippe Par reno (Oran 1964) , Bruno Peinado (France 1970) , Joyce Pensato (Etats-Unis), Peyo (pseudonyme de Pier re Cul l iford) (Belgique 1928- 1992) , Raymond Pet t ibon (Etats-Unis 1957) , Jean-Marc Reiser (France 1941- 1983) , Joseph Pinchon (France 1871 - 1953) , Picasso (Espagne 1881- 1973) , Hugo Prat t ( I tal ie 1927- 1995) , Pascal Rabaté (France 1961) , Benjamin Rabier ( 1864-1939) , Alex Raymond (pseudonyme de d’Alexandre Gil lepsie Raymond) ( 1909- 1956) , Bud Sagendorf ( 1915- 1994) , Alain Saint-Ogan ( 1895-974) , Henr ik Samuelsson (Suède 1960) , Mathieu Sapin (France 1974) , Riad Sattouf (France 1978) , Mar jane Satrapi ( I ran 1969) , Peter Saul (Etats-Unis 1934) , François Schui ten (Begique 1956) , Charles Monroe Schulz (Etats-Unis 1922-2000) , Alain Séchas (France 1955) , Jacques Tardi (France 1946) , Aya Takano ( Japon 1976) , Maurice Tilieux (Belgique 1922- 1978) , Adr ian Tranquil l i ( I tal ie, 1966) , Lewis Trondheim (France 1964) , Fabien Verschaere (France 1975) , Vuk Vidor (Serbie 1965) , Wil ly Vandersteen (Belgique 1913-1990) , Wang Du (Chine 1956) , Andy Warhol (Etats-Unis 1928) , Wil l (pseudonyme de Willy Mal taite) (Belgique 1927-2000) , Chic Young (pseudonyme de Murat Bernard Young) (Etats-Unis 1901- 1973) , Yi Zhou (Chine 1978) ,

Wilfried Hou Je Bek - Marubo Demon Songs

2009-04-30T11:33:00.000-07:00

Song 1

I am the first one
That part of me which is blue
Tells of blue snakes
It is speaking of certain truths
& of my dick
I speak
I am the first one
We descend from shamans
We are the children of the jaguar-people
We are twigs of the jaguar-tree
The place of blood
Creates the demon-child
The blood of the bird-person
The place of blood
& to teach is to create
When the last word is spoken
This is what I think
This is what I say
I am dead
I am dead
But I will come back in better shape
Ahhhhhh! This is what I had to say! Ahhhhh!

------------------------------
Song 12.

My body has changed
My head is a fly-demon
My teeth are jaguar-demons
My teeth are beyond my control
My body is crooked
And my sisters
Use the foam
Of demon-herbs
To paint my back
& I go dancing
Along sun-paths
Along downward paths
Downwards I walk

------------------------------
Song 15.

I am the first one
I will become the açaí-demon
Above us are clouds
Racing through the sky
This is as it has always been

The shape the demon-keeper
The leaves of the tree-demons
Those leaves rustle
They remind me of a swarm of bird-demons
Countless of them are moving
They are the same
While I am singing
I suck from my lips
The juice of tobacco
Ahhhhhh! I say! Ahhhhhhh!
I am the first one
Whom with fresh leafs
Has his chest
Adorned with images
The geometry-demons
Geometry is the teacher
The images on my chest
They control the demons
I am the demon of demons

**********************************
PS
These are shamanic songs of the Marubo people who live in the Jawari-basin in Western Amazonia. They have been in contact with the non-indigenous world since the end of the 19th century and are now growing in number after a century of decimation. These songs are taken from Pedro N. Cesarino's ethnopoetic study 'ONISKA: A poética da morte e do mundo entre os Marubo da Amazônia ocidental' (pdf), a brilliant overview of the oratory tradition of the Marubo in relation to their cosmology. To my regret I have to say that I haven't actually read it because it is in Portugese, a language I have no command of. What I have done instead is to first map all words of these songs to their English dictionary equivalent and after that I have recreated/rewritten them in my image of what an Amazonian shaman should sound like. The current use of the word shaman, the way shamanism as an Amazonian practise is understood, is too simplistic. The shaman is the poet/academic/healer of the tribe, having knowledge of the medicinal effects of thousands of plants, but the shaman is also a belligerent witch-doctor casting spells and evoking doom over the enemies of his tribe. In the worldview of the Amazonian indian the spirit world and the real world are without clear demarcation. The world of the Indian is dark and Gothic, an unforgiving world in which evil can and does invade everything, hiding in animals, plants and friends alike. My version of the Marubo songs are dramatized towards this effect.

Wilfried Hou Je Bek
SocialFiction.org

JG Ballard (in memoriam) - Miracles of Life

2009-04-26T04:12:00.000-07:00

"My years in the dissection room were important because they taught me that though death was the end, the human imagination and the human spirit could triumph over our own dissolution" (145)

"In the last few years The Atrocity Exhibition seems to be emerging from the dark, and I wonder if the widespread use of the Internet has made my experimental novel a great deal more accessible. The short paragraphs and discontinuities of the morning's emails, the overlapping texts and the need to switch one's focus between unrelated topics, together create a fragmentary world very like the text of The Atrocity Exhibition" (Miracles of Life, p. 237)

Triling - Jean-René Lassalle (Cynthia 3000)

2009-02-27T14:25:00.000-08:00

"2.1 drainage des sangsues au cimetière de sable
blanc, paniers à taille dé-robent
ludionnants non-chasseurs
suce-mirabelles en mirador [...]

2.2 leeches weigh
on a graveyard of white sand
each dress a no-flag drives
wearied hunters into vertigo from a worm-eaten
watchtower acting on a myriad bells [...]

2.3 entwässerung durch blutigel
im friedhof aus weissem sand und schwindel
von müden nicht-jägern ab
dem wachturm in endlosschraube [...]"

*********
Triling - Jean-René Lassalle (Cynthia 3000)

*********

Trilingual stream of consciousness in which meaning is altered as it is processed by the different tongues. Or maybe this is just an echo chamber where voices cross-over and feed on each other. Or maybe, this is the painful transcription of forgetful translators who suddenly decide to create and convey their own meaning of things. Or maybe this is a game played by a group of bored kids who do not understand each other but finally manage to communicate in some bizarre manner. Or maybe this is a machine endlessly encrypting a mysterious text that some post-exotic rebel was trying to hide. Whatever. We hate explanations.

André Martel - Génémonte (+ translation)

2009-02-06T14:01:00.000-08:00

Génémonte - Epope
By André Martel

(click on image to enlarge)

********************************
Erroneous translation made in ZSWinland

HUMANEON
.................O
.................O
.................O
....ANTHROPICAL
......................I
......................I
......................I
..............MANIMAMAL
............................A
............................A
............................A
........................CRAWLEPTEROUS
..........................................T
..........................................T
..........................................T
......................................ARTHROPUDDING
........................................................U
........................................................U
........................................................U
.............................................MOLLUSCUM
.................................................................M
.................................................................M
.................................................................M
.................................................................AMOEABLE
.............................................................................A
.............................................................................A
.............................................................................A
.........................................................................GLASSIFOROUS
............................................................................................R
............................................................................................R
............................................................................................R
.............................................................................MUDITERRANEON

James Joyce - Thunderwords - POP translation

2009-01-23T13:45:00.000-08:00

FW003 (thunder):
"bababadalgharaghtakamminarronnkonnbronntonnerronntuonnthunntrovarrhounawnskawntoohoohoordenenthurnuk"

*************************
baba
BA BA BA BA Barbara Ann, Ba ba ba ba Barbara Ann, Barbara Ann, Take my hand

bad
BAD, You know I'm bad, I'm bad-you know it, (Bad bad-really, really bad)

algharaghta
I'LL GO I'LL GO I'LL GO RIGHT DOWN the road

kamminar
CAMINAR y caminar desde tus pies a tu cogote, como camina el trovador.

ronn
RUN, run, run, run, run, take a drag or two, run, run, run, run, run

konn
CONGO, deep down in the jungle, I started bangin' my first bongo

bronn
BROWN sugar how come you taste so good, (a-ha) brown sugar, just like a young girl

tonerron
THUNDER Road sit tight take hold, Thunder Road

tuonn
Sixteen TONS, whadaya get? Another older and deeper in debt

thunn
THUNDER, lightning - ooh, every time we touch. Thunder, lightning - I need it so much

trovarr
EXTRAVERT or introvert, Love is kind, and love hurts

houn
HOUNDS of love are hunting ; I've always been a coward

aw nsk awn
HER OWN SKY, she lives by the way she flies

toohoohoordenen
sucking TOO HARD ON YOUR lollipop Oh, love's gonna get you down

thurnuk
We all wear the same THORNY CROWN

*************************
With a little help from my friends: The Beach Boys, Michael Jackson, Feist, Amaia Montero, The Velvet Underground & Nico, Manu Chao, The Rolling Stones, Bruce Springsteen, Merle Travis, Giant, Pet Shop Boys, Kate Bush, Krissie, Mika, Bob Dylan

*************************

POEMS syndrome

2009-01-11T01:56:00.000-08:00

POEMS syndrome, also known as Britney ShakeSpeare’s syndrome is associated with abnormal proliferation of ego-poïetin, massive enlargement of blurb vessels and increased thickness of expression. Proliferation of CAPTCHA-ÏKU markers is another clinically recognisable feature. While many criteria of the disease have been fully described, the exact mechanism of the disease has remained elusive. Many treatments have been suggested the effect of many of which is almost anecdotal.

*******

More CAPTCHA-ÏKUS here and here (on Venereal Kittens).

HomophoniK-Karaoke

2009-01-03T12:46:00.000-08:00

Crystal Castles: Untrust us

Lack of Caïn -I know- has been appearin’ so solid
Lack of Caïn eyes is not gonna deform you

La coquine a noué ses bouées inaperçues sans salut
La coquine attise notre goût des foireux

La coca-cola no es buena para sus alumnos
La coca-cola es nostalgia fuera

(repeat)

2008 Reloaded

2008-12-30T01:45:00.001-08:00

Portishead: Third

I can't divide or hide from me

I don't know who I'm meant to be

I guess it's just the person that I am

Often I've dreamt that I don't wait

Enjoy the gift of my mistake

But yet again I'm wrong, and I confess

Oh I'm losing myself

My desire I can't have

No reason am I for

Philippe Vasset, Un Livre Blanc (Fayard)
"Interdiction absolue de vider du thryclétirène dans les égouts sous peine de sanction." (Moi, je venais sur les friches non pas pour y vider mon sac mais, plus fondamentalement, parce que j'assimilais, dans les bouches, sur les écrans, le mot, la parole au déchet.

Lutz Bassman: Haïkus de prison (Verdier)
Hier soir j'ai promis
de chuchoter près de sa tête
ne pas renaître surtout ne pas renaître
**********

Soudain pendant l'appel

je pense au jour où plus personne

ne criera mon nom

**********
Avant de s'endormir

le tueur de vieilles et le boucher fou

parlent technique

Lee Ranaldo: Our music (Docks Mag)
our music is unintelligible
inexplicable
flying low under the radar
of yr average radiohead
there for the plucking
yet almost silent
undiscovered still like some
new and ancient language
keeping secrets

Edouard Levé: Suicide (POL)
Tu disais qu'il valait mieux écouter du rock dans une langue étrangère qu'on connaît mal. Que les paroles sont plus belles si on le comprend à moitié. Que le dadaïsme aurait donné du bon rock si les dates avaient coïncidé.

**********

Je ne souffre pas en repensant à toi. Tu ne me manques pas. Tu es plus présent dans mon souvenir que tu ne le fus dans notre vie commune. Si tu vivais encore, tu serais peut-être devenu un étranger. Mort, tu es aussi vivant que vif.

Dave Cooper: Ripple (Seuil)
Un jour j'espère faire des livres d'enfants, mais pour adultes. Comme ceux que j'adorais, mais avec des thèmes adultes. Terrifiants et érotiques.

Chronic'art #46 (100% fake)
Mêlant Tsvetaïeva, Stravinski et Gagarine en une même ronde scandaleuse, 'Scherzophrenia!' des Sputniks est la gemme la plus précieuse du psychédélisme soviétique. A l'occasion de sa réédition, retour sur une sublime anomalie, broyée par la Guerre Froide.

Arnaud Maguet / Pierre La Police: The Supremacist
Nous comprenons votre désarroi et compatissons, mais au jour d'aujourd'hui et pour votre propre santé mentale, voici le seul élément relatif à ce dossier que nous sommes habilités à vous communiquer: le Supremacist est là, et il vous guette.

Hubert Lucot: Grands mots d'ordre (POL)
Il a fallu abattre tous ceux qui connaissaient le soldat inconnu avant sa mort: hommes, femmes, enfants, amis, ennemis.
**********

Les sado-masos ont le sens de la relativité: "On ne discute pas des coups et des douleurs."
**********

Dissimuler de la drogue dans les exemplaires de la Bible serait redondant.

Fénéon Revival
**********

Félix Fénéon: Three Line Short Stories
A dozen hawkers who had been announcing news of a nonexistent anarchist bombing at the Madeleine have been arrested.
**********

After Félix Fénéon: Faits divers de la poésie Américaine et Brittanique

The panelists at the MLA spoke in solemn tones about “The Meaning of Poetry Today.” Then they retired to the cash bar, Rm. 420, Hyatt Hotel, and began to network, in earnest.

Alfred Arteaga (RIP): Net Laguna
Je voudrais dormir au bord du lac,
al lado de este que en inglés es lack,
to sleep beside lo que je voudrais,
junto al lago peut-être nager.
Je voudrais dormir in the wide aire
mentir in the cut, herida mía;
avoir des rêves al revés de anger,
rage, où nagent les anges d’argent,
rien, and rain entero peace of time.
To ask la cuna of first, ¿qué es, pez?
Passé pescado, sin essense, pecado original,
con d’ailleurs de l’essence un seul poisson,
the poison sol au bord laguna cut water
corps de l’eau, de l’heure, and the fold que eres.
Une tranche de la vie, flesh bits, minutiæ,
¿qu’a bu qui a vu qué ha visto l’año que entra quién?

CrashTest: ATROXHITY
A tribute to JG Ballards' Atrocity Exhibition.

Each participant selected a title taken from one of the 15 chapters in the atrocity exhibition.

Georges Perec et Bernard Queysanne: Un homme qui dort (1974, réédition 2007 La Vie est Belle)
Les monstres sont entrés dans ta vie, les rats, tes semblables, tes frères. Les dizaines, les centaines, les milliers de monstres. Tu les repères, tu les reconnais à d'imperceptibles signes, à leurs silences, à leurs départs furtifs, à leur regard flottant, vacillant, effrayé, qui se détourne quand il croise le tien. La lmuière brille encore au milieu de la nuit aux fenêtres mansardées de leurs chambres sordides. Leurs pas résonnent dans la nuit.

Sylvain Courtoux Nihil, inc. (Al Dante)
IMPACT DANS DIX-NEUF SECONDES / Le signal de l'assaut final sera donné par les cinq premières mesures de Atrocity exhibition de Joy Division / le signal de l'assaut final sera donné par les cinq premières mesures de I fought the Law de Clash / IMPACT DANS DIX-HUIT SECONDES /

Sigur Ros: Med sud í eyrumvidspilumendalaust
Þú hatta fjúka lætur í loft
þú regnhlíf snú á hvolf allt of oft
ó nei, ekki
Þú þök að fjúka út á brot sjó
þú hári strjúka faldinum sló
Óhræsisstrákur
Þú (Lalalala lalalala... Lalalala lalalala)
Vindur í hárinu - úú
Vindur í hárinu - úú
Vindur í hárinu - úú
Vindur í...
(Lalalala lalalala... Lalalala)
Þú augu fjúka í sand tárast
Þú tyggigúm í hendir hár fast
Óhræsisstrákur

Maria Soudaïeva - Slogans

2008-12-13T02:50:00.001-08:00

Maria Soudaïeva has invented here a verbal guerrilla interweaving names, foreign words, numbers and locations, playing on imperatives and ellipsis, endlessly naming and counting succumbing bodies, destroyed zones and irrational battles. Each sentence is a concentrate of hate and pain as well as a hateful and painful call to action. Each sentence adds violence to the previous one, enlarging its scope, enhancing its aggressiveness or desperation.
I. 20. INFLICT THE FINAL STROKE TO NATACHA AMAYOQ!
I. 21. NOT A SINGLE DREAM LEFT INSIDE NATACHA AMAYOQ’S REMAINS!
I. 22. NATACHA AMAYOQ, WE ARE WITH YOU!

Paradoxically, this language, « langue crypte » as Volodine would say, sounds both familiar and foreign and so is the context : war, terrorism, humans fighting and dying. The itemisation / atomisation of the text seems, at fist, to deconstruct and dissolve the meaning and the landscape. The extreme fragmentation reflects the nature of the fight : struggling against mental and physical destruction, holding onto the last strength, the last hope, or relinquishing altogether all of these:

III. 29. IF NOBODY REMEMBERS YOUR NAME WHEN YOU DIE, FORGET YOUR NAME!

III. 91. IF YOU STILL HAVE A HEAD, THROW IT AWAY!

III. 139. DISGUISE YOUR BODY IF YOU’VE GOT A BODY!

The « langue crypte » is a core but underlying theme within Volodine’s fiction. In most of his novels , he constantly refers to these bizarre voices and sounds originating from clandestine sources, and to these underground books which are written by poets and dissidents. « Slogans » clearly seems to be one of these books and Maria one of these voices. There is no doubt that Maria Soudaïeva probably is the most perfect post-exotic figure that Volodine could ever meet (they even became friends). Besides, her presence and spirit can be detected through most of the female characters in Volodine’s work and her words are actually featured in the novel « Le Port Intérieur » in which Volodine inserts some of Soudaïeva’s claims:

PIRATES OF THE SECOND SEA, COME TOGETHER!

OFFICERS ON THE WOUNDED SHORES, COME TOGETHER!

VETERANS OF THE ARMY OF THE HIVE, COME TOGETHER!

[Antoine Volodine, Le Port Intérieur, page 57, Les Editions de Minuit]

These slogans are meant to be written on walls and read in tunnels, caves or basements. They are meant to be whispered, uttered, muttered or shouted in the middle of ecstatic crowds or, alone, in front of an execution platoon. Maria’s sentences are meant to take the reader’s breath away but tend to elude any immediate interpretation ; some seem to have the same function as those war messages which were broadcasted on the radio (Radio Londres for instance) during WWII calling the Resistance to action. There is the same discrepancy between the mystery/beauty of the metaphors and the violence which these are supposed to trigger:
II. 36. PROTECT THE EGGS, BREAK THE NON-EGGS!
II. 152. NO SPIDER LEFT ON KOROGHO THREE!
II. 299. BEES ON THE FLOWERS AND THEN NITCHEVO!

If Maria Soudaïeva delivers a message, it is both to our senses and to our minds. In appearance absurd and hermetic, her encrypted phrases possess a very peculiar impact and a fascinating effect. As if she were talking an unknown language that everybody could understand.
II. 63. ELEVEN DISGUSTING TONGUES, ONLY ONE STRANGE LANGUAGE!
III. 71. LISTEN TO FOREIGN LANGUAGES WITH THE HUNCH IN YOUR EYES!
III. 144. IF YOU LACK YOUR TONGUE, WHISPER THE WORDS WHICH SPEAK BY THEMSELVES!

Maria Soudaïeva committed suicide in February 2003. The three chapters within this unique work close on similar words:
343. BAD DAYS WILL END
And curiously, three hundred and forty three is the specific number of books written by post exotic writers according to Volodine (in Le post-exotisme en 10 leçons, Gallimard). In this list, the reader is to find two books by Maria Soudaïeva! What we are suggesting here is, not just the bond between author and translator, but also how far Volodine went into the appropriation of Soudaïeva’s text and character. He strongly edited Slogans’ manuscript , certainly created the numbering, selected the order of the sections, possibly invented some of the chapter and section titles. The introduction to "Slogans", written by Volodine himself, is the work of a mythographer (turning Maria’s portrait into a myth) who is also trying to reveal the volodinian nature of Maria’s words and inspiration. Taking a step further and based on Volodine’s heteronymic aspirations, one might be tempted to deduce that Maria Soudaïeva is a post-exotic pseudonym for Antoine Volodine. This interpretation would therefore throw a completely new light on the role of Antoine Volodine as a translator! Furthermore, in Le post-exotisme en 10 leçons (Gallimard) Volodine indicates that one of the outstanding features of this litterary movement is the death of the author and the multiplication of voices, narrators and spokesmen. Maybe, what we have in our hands, this exciting book by Maria Soudaïeva is but the portrait of a fictitious translator as a spokesman or even an incubus altering the text to fit his own vision. One of the great achievements of this book is that we, readers, are lost in the middle of a litterary riddle, a void in which the author possibly belongs to fiction, the translator is a manipulator and the characters’ voices are so (beautifully) encrypted that they hardly provide any clue about who they are and where they are hiding.

Félix Fénéon

2008-12-07T00:33:00.000-08:00

Félix Fénéon: Nouvelles en trois lignes / Three line novels

********************************************************

Bernard, at Essoyes (Aube), 25 years old, knocked down M. Dufert, who is 89, then stabbed his wife. He was jealous

Two gypsies were fighting for the young Colomba, near Belfort. Incidentally, she received from one of them, Sloga, a fatal bullet.

"I want to die like Joan of Arc!" had said Terbaud from the top of a stake he had built with his own furniture. The fire brigade from Saint-Ouen stopped him.

********************************************************
More info on DB Chirot's new site: Cronaca Souversiva, about Félix Fénéon and Anarkeyology.

ZSWOUNDERGROUND [New]

2008-06-01T12:30:00.000-07:00

SOMETHING IS HAPPENING HERE: Zswounderground
***********************
Description
This new project known as ZSWOUNDERGROUND has been recently launched but note that:
=> This is a blog WITHOUT any posts on the home page;
=> ONLY COMMENTS are inserted ;
=> ALL posts are left blank (or may contain an error message) ;
=> Everyting will take place BENEATH the surface, will be hidden from sight, will have to be unearthed (that is to be discovered from the “Comments” area).
***********************
Want to know more?: contact us.

meet me at the art museum by the war memorial

2008-05-17T06:45:00.000-07:00

when one can no longer "read" or "understand" one's creations

2008-05-16T15:47:00.000-07:00

Majena Mafe - Opera for glossolalia

2008-05-16T14:15:00.000-07:00

Majena Mafe: that-unsound

The BabelFish Translator

2008-05-16T14:10:00.000-07:00

In the Hitchhiker's Guide to the Galaxy movie

Sylvain Courtoux - Nihil, inc. (Al Dante)

2008-05-09T23:26:00.000-07:00

"IMPACT DANS DIX-NEUF SECONDES

Le signal de l'assaut final sera donné par les cinq premières mesures de Atrocity exhibition de Joy Division / le signal de l'assaut final sera donné par les cinq premières mesures de I fought the Law de Clash / IMPACT DANS DIX-HUIT SECONDES / le signal de l'assaut final sera donné par les cinq premières mesures de One Hundred Years de Cure / le signal de l'assaut final sera donné par par les cinq premières mesures de I Wanna Destroy You des Soft Boys / le signal de l'assaut final sera donné par les cinq premières mesures de Final Solution de Pere Ubu / le signal de l'assaut final sera donné par les cinq premières mesures de Two People in a Room de Wire / le signal de l'assaut final sera donné par les cinq premières mesures de All Night Party de A Certain Ratio / IMPACT DANS DIX-SEPT SECONDES"

Sylvain Courtoux: Nihil, inc. (Al Dante, 2008)

Translation of a Banned Children's Book ("Peacenik" Books Banned in USA due to War on Terror)

2008-05-07T11:04:00.000-07:00

Hidegard von Bingen - Lingua Ignota (Zswound revealed)

2008-04-25T11:41:00.000-07:00

LINGUA IGNOTA:
"O orzchis Ecclesia, armis divinis praecincta, et hyacinto ornata, tu es caldemia stigmatum loifolum et urbs scienciarum. O, o tu es etiam crizanta in alto sono, et es chorzta gemma." (Hildegard von Bingen)

TRANSLATION:
"O orzchis Ecclesia, girded with divine arms, and adorned with hyacinth, you are the caldemia of the wounds of the loifol, and the city of sciences. O, o, you are the crizanta in high sound, and you are the chorzta gem "

REVELATION:
"O orZchis Ecclesia, girded with divine arms, and adorned with hyacinth, you are the caldemia of the wounds of the loifol, and the city of sciences. O, o, you are the crizanta in high sound, and you are the chorzta gem "

Lucille Calmel - When

2008-04-20T03:35:00.000-07:00

à part ça

cette nuit une jeune femme blonde cheveux courts est morte branlebas de combat amis famille à organiser les obsèques visite du cimetière (une partie du groupe en profite pour se perdre dans les escaliers en colimaçon d'une tour) veillée funèbre je suis chargée de veiller madame râle agonise du plus pur noise intestins cordes vocales râclées elle soupire ronfle claque des lèvres et ouvreferme les paupières je suis censée observer bien tout cela qui se trouve normal oui et il faut mettre les pommes de terre au garage les pommes de terre au garage sont donc amenées coupées en deux une femme explique qu'il faut caresser le corps mort à l'assise pour défaire la raideur (insert souvenir : la brûlure des plumes de poulet avec grandmère à la buanderie) ce qui est fait et la femme devient de glace c'est à dire le cadavre est entourée d'une cube de glace et ses membres sont des pattes d'écrevisse (évidemment il y a des plans et pas vraiment d'émotions)

là évidemment le réveil sonne

(meine Seele brennt)

(excuseer)
=========================================================================

IL PARAÎT QU'UNE FOIS QUE VOUS CONNAISSEZ L'EXISTENCE DU SYNDROME DE STOCKHOLM VOTRE APTITUDE À L'ÉPROUVER EN EST RÉDUITE

> j'étais en train de me faire courser par une femme flic cause de loin
> elle avait repéré que j,avais en main un engin avec pas mal de bâtons
> de dynamite qu'on essayait avec un comparse de poser sous une voiture
> j'ai essayé de la leurrer en balançant sur le trottoir des craies de
> couleur et puis comme elle me rattrapait fissa j'ai fini par m'envoler
> direction les toits en lui demandant si violet ça lui plairait tout en
> vérifiant la couleur sur mon bras

saison 7

ça pour dire que j'essaie parfois de faire des listes titres de séries télé et que ça donne peutêtre moins mauvaise haleine qu'une cascade de pilules

(est ce que cette nuit j'ai rêvé d'essayer un uzzi, après tout plus maniable qu'un ak47, recul contre hanche)

presser la chair l'ossature

(des capotes sales et des serviettes hygiéniques usagées volent dans l'air dès que le vent souffle, parce que les gens ne sont pas foutus de fermer leurs poubelles correctement)

Date: Wed, 31 Oct 2007 01:32:11 +0100 (CET) De: "lucille c."

et donc passe lui un bière un bière un ricard un bière diagonale des lui en caleçon pour lhumiliation en prison on lui dit le cordon du radio cassette pendaison au radiateur il tire une carte pendant que l'autre là pend égorge étripe découpe un autre au congélateur deux paquets de bonbons bleus avec le sourire du speed polski il va en espagne trouver l'amour de sa vie un bémol en français néerlandais espagnol manouche rougir bref (poche plastique)
ça fait deux heures plus je cherche toutes parts les moteurs et métas l'histoire de patrick hammers il dit le love bandit il vole de l'argent pour sa femme et meurt pendu sol un poster dans sa chambre lui enfant un manouche là jeune beau ivre au comptoir sûr c'est plus facile de revenir ce comptoir là et demander lui la belle histoire ça à cause de celui qui se fait trancher la jambe par une pale d'hélicoptère au milieu d'une taule je me déguise et je tire (litière)

bpNichol's TTA29 Continued - Dan Waber & Jason Pimble

2008-04-13T06:34:00.000-07:00

Animated version of BPN's TTA29 by DW & JP [600x600* or 1800x1800**]
*See the whole piece***
**Chance generated****
***Click and drag to move, or use buttons
****Allow auto-move
*****Icharrus...for an instant

Docks - Le Son d'Amour

2008-04-04T14:21:00.000-07:00

Annie Abrahams, Frédéric Acquaviva, Fernando Aguiar, Nadine Agostini, Démosthenes Agrafiotis, Akenaton, Danil Akimov, Jean-Joseph Albertini, Sandy Amerio, Jim Andrews, Noël Akchoté, Astrid, John Bennett, Roland Baladi, Ariane Bart, Samuel Bester, Philippe Boisnard, Antoine Boute, Mathias de Breyme, Ernie Brooks, Jean-François Blanquet, Steve Buchanan - Heike Fiedler, Thomas Braichet, Mathieu Brosseau, Hervé Brunaux, Dmitry Bulatov, France Cadet, Felipe Caramelos, Laetitia Carlotti, Nicolas Carras, Philippe Castellin, Eric Cassar, Thierry Clermont, Jean-Christophe Cros, David Christoffel, Sylvain Courtoux, Lin Culbertson, Julien D’Abrigeon, Ramon Dachs, Gérard Dalmon, Steve Dalachinsky, Caterina Davinio, Henri Deluy, Daniel Deshays, Olivier Domerg / Jules Vipaldo, Charles Dreyfus, Patrick Dubost, Antoine Dufeu, Erik. M, Bartolomè Ferrando, Luc Fierens, Giovanni Fontana, Nicola Frangione, Lena Goarnisson, Hortense Gauthier, Jean-Paul Gavard-Perret, Alexandre Gherban, Gérard Giachi, Liliane Giraudon, Antonio Gomez, Virginie Grahovac, Scott Gresham-Lancaster / Stephen Bull, Gottfried Groll, Frédérique Guétat-Liviani, Pascale Gustin, Mariusz Grygielewicz, Georges Hassomeris, Sylvie Houllemare, Ulrike Kaspers, Richard Kostelanetz, Philippe Le Goff, Eléonore Lebidois, Cyril Lepetit, Lucille Calmel, John King, Oleg Lystov, Cécile Mainardi, Christophe Manon, Marina Mars, Matmos, Xavier Malbreil, Christophe Marchand-Kiss, Mazajé, Pierre Ménard, Lorenzo Menoud, Valérie Meyer, monsieuRdurand [a.k.a, j-mahtab], Emilio Morandi, Jean-Marc Montera, Kaye Mortley, David Moss, Btrian Mura, Chantal Neveu, Phil Niblock, Boris Nielsony, Dave Nuss, Pauline Oliveros – Ione, Aki Onda, Andrea Parkins & Jessica Constable, Evgeny Palamarchuk, Guillaume Patin, Jean-François Pauvros, Charles Pennequin., Lucia Peiro i Lloret, Ranaldo Lee, Cécile Richard, Gilles Richard- Les riches Douaniers, Michèle Ricozzi, Florence Rigou, Katharina Rosenberger, Wilfrid Rouff, Anne Savelli, Tomas Sidoli, Antoine Simon, Jacques Sivan & Cédric Pigot, Sabine Tamisier, Shin Tanabé, Artur Tajber, Lucien Suel, Endre Szkarozy, Nicolas Tardy, Jean Torregrosa, Colette Tron, Evgeny Umansky, Marc Veyrat, “Sam”, Jean-Jacques Vitton, Hortense Vlou, Claude Yvroud, Paul Zelevansky + ZSWOUND

Sylvain Courtoux - Conspiracy

2008-04-04T12:15:00.001-07:00

Pranks Film Festival

2008-03-31T13:58:00.001-07:00

Schedule
More about RE/search

Scotophilic Bibliophobic Postal Gaslight

2008-03-31T10:08:00.001-07:00

(composed of only the letters abcghijlopstx)

SOS ... oh hai!
sciatic chits, tit biotic glottal apocalypt.
obit otobiotic begot chitchatish locat pit.
hogs topologic glob x-otic tictoc lillith.
o gio tictac pot boc-choi sabbattical bacall.
iliobicoastal cocktails to-go bit x-baptist.
i, x-cocoa toxic statistical alcoholic x-G.I.
illigit glottic littlish Gattica lilt gags obj--
attica pox oxigitic. i xoxox LOL glossiolia!
pittipat (oops!). toss taj lo, hi obj: pol.
osh kosh bi gosh, high iota x-hoot, jilt hoi poloi.
hit TI, ja? too, oxgallic scioptic hails ill.
O (sigh), oxitoxic plot botox (sigh). clit
x-ahtica (haha!) halos. ooooh, jihallic poll --
clicclic x-oglottical. agog x-bogotic xox kohls.
it--it--it pops x-1 goo, i hail kibbittish loli BLT.
solicit ajax, pop vox clock sax, XX-L jilt.
itioglottic too high, lost dit-dit lil picadillia.
O thixophobic x-actos, git silica six taxicabs.
boohoohoo! O lillipitic bijasal 2-oh'd. all
xoxoxial, too. good gahd, X-googol blog obj:
gosh! ok, thx, bai!

El Ojo de Dios Part the First: Insects & Letters

2008-03-22T08:13:00.000-07:00

El Ojo de Dios

For Leonardo Sciascia

“J’ai trop a ecrire, c’est pourquoi je n’ecrire rien.”—Stendhal, Journal, 1804

Part the First: Insects and Letters

El Colonel smiles. Bright birds sing in the morning air. Limpid light through the wide open windows bathes the high celinged room’s whitewashed stone walls. The coolness of night, refreshing as nearby mountain streams, rises in the wake of dawn’s departing mists. “The promise of a good day is given unto him,” El Colonel hums, imitating the cadences of a childhood hymn.

El Colonel smiles. With practiced precision, his favorite adjutant appears, “true to the appointed minute, ever mindful of detail.”

El Colonel smiles. Along with his great fondness for alliteration, El Colonel has an addiction for placing thoughts, those improvised compositions, in quotation marks. This brings “a deft touch of intriguing and entertaining irony to the most prosaic of ideas, events, and persons “ Habituated to an imaginative isolation, El Colonel’s intellectual companions are his “compositions” with their attendant “commentaries,” “asides,” “digressions,” and “annotations.” By means of this “ironic distancing” he continually invents “a hitherto unknown and as yet unpublished form of writing, never before seen nor heard.”

El Colonel smiles. This writing is a method of creating for himself a reader who is in turn accompanied by his own doubling as a writer. Where there had been “no one with who to share his most intimate thoughts, the fullness and agility of his life,” there is now not only such a companion; there is also a recorder of “his deeds and exploits.” In such a way El Colonel simultaneously acts, writes and reads both for himself and to another, who is also both a reader and an other author in turn, providing El Colonel with his own role as a reader. By these means his life takes on an aura of legend, and he acts both as though creating the performance of something which is happening, and of something which has happened “already.” By the latter means, his life is taking place in a futurity in which it is read, and in a present in which it is written. The simplest acts and words are invested with the immediacy of a drama “taking place,” the glow of “great acts having taken place ,” and, to heighten both drama and aura, the precisions of a prefatory “about to take place,” which allows for the insertion of the necessary commentaries, directions, and asides. “For the benefit of the listener, for the pleasure of the reader, for the background material necessary to the writer,” as El Colonel describes it with relish in a self-penned blurb.

El Colonel smiles. “Implacable face of an idol, obsidian eyes set in burnished copper,” the handsome adjutant stands before him with the morning’s first batch of dispatches, files, runner-delivered letters, and neatly folded and crisp “primarily Provincial” newspapers. The adjutant is one of El Colonel’s pet projects, “a raw recruit before our very eyes transformed into a perfect specimen of youth tempered with discipline.”

El Colonel smiles. The adjutant’s high cheek bones and broad shoulders “indicate a physiognomy and physique in harmony with the topography.” “Impassive, inscrutable, O what rock hewn ages has your being not known,” El Colonel hums as the bright birds sing.

El Colonel smiles. Snapping to attention, the handing over of the documents being accomplished, the adjutant speaks in clear, carefully enunciated tones. “Colonel today is the one appointed for your meeting with El Ojo, at 10.00 hours.”

El Colonel smiles. With a slight broadening of his lips, El Colonel indicates to the expectant adjutant that he, too, may smile. A smile which El Colonel “knows full well he is eager to indulge in.” El Ojo is well known to be a great favorite with the men of the “Heroic Patrol.” His meetings with El Colonel “inspire and arouse curiosity even among the most stoic.” Sometimes these meetings change nothing more in the daily routine than this “elevation of interest”; sometimes “they indicate an imminent Action of the Heroes.”

El Colonel smiles, the adjutant smiles. “El Ojo,” El Colonel pronounces with firmness, and, with a broad gesture indicating that a small table and two large chairs are to be advanced to the center of the room, adds, “Prepare the strongest Reserve coffee and bring two pack of unsealed cigarettes.” It is well known that El Ojo will only smoke cigarettes whose seals are broken before his watchful gaze.

El Colonel smiles. Going to the wide open window he gazes through aviator sunglasses at the bright birds, the luminosity of the landscape and “reflects on the irony that reflective glasses shield one’s reflections from observing eyes by their mirrored reflections of a thwarted inquiry.”

El Colonel smiles. Behind the reflecting sunglasses, “his own reflections concern themselves with a reflection found within the ‘Author’s Note’ to the Second Edition of Joseph Conrad’s The Secret Agent, a copy of which he found when literally ransacking a small private library whose owner he had been ordered to take possession of.” El Colonel “recollects in tranquility,” that the passage had “greatly interested, inspired and amused him, for in it Conrad had written: ‘Man may smile and smile but he is not an investigating animal. He loves the obvious. He shrinks from explanations. Yet I will go on with mine.’”

El Colonel smiles. Watching the play of light on large leaves upon whose surfaces insects have begun to gather “seems to remind him of the play of the light even in the cool dimness of the library on the leaves of the book, upon whose surfaces the letters had gathered.” This “doubly reflecting” aspect of his seeing and his recollections strikes him “as an image of the intimate intercourse of the natural and human worlds, of the revelatory union of the exterior and interior of consciousness, and of the synchronistic simultaneity of the moment and a memory which doubles as its mirror.”

El Colonel smiles. Conrad’s man who may smile and smile, loving the obvious and shrinking from explanations, he finds himself to be the “paradoxical embodiment of the contradiction of.” For, “reading Conrad’s words crawling on the leaves of the book in the cool, shadowy light, he had found himself, not as the one described, but as the union of the description and its author. As both the smiler and the investigative explainer who describes and refutes him, as the one whose task it is to bring into being their union. As and in himself. And in that moment he experienced the recognition of his unique Vocation and of himself. “

El Colonel smiles. “To smile, to love the obvious, and to present and preserve the explanation which both the smile and the obvious conceal, the reflections behind their reflecting surfaces. This, this is his alone, this unique vocation, this great passion, this most confidential mission.”

El colonel smiles. Checking his watch, he turns and approaches a chair on one side of the table set in the center of the large light filled room. This chair and the one on the table’s other side are high backed, with strong arms of a wood hard as iron and painted in a still shiny black lacquer. The upholstered seats and backs are not uncomfortable and of a worn red fading into rose. With studied and precise, angular movements, El Colonel begins to arrange himself in the correct position in which to be found by his “immanent and eminent visitor.”

El Colonel permits himself a barely audible and very brief laugh as “he takes possession of himself the better to assiduously arrange the head, the torso, the limbs, the folded hands, as though he were in the process of preparing a stuffed and mounted specimen of a representative example of a Colonel, whose taxidermist he himself was.”

Scat Track (Poem Derived from the Text of J-P Kervinen)

2008-03-16T23:18:00.000-07:00

obama and hillary scat singing on homeland soil, oooooo wee ooh, voot voot bomp-bomp-bomp!
a mishmash of tura lura ella bossa nova sound poetry unloosed wit somethin' ta salute wit,
one note samba tooey oooh avou-tionary oooh wee voot voot voot poo pah doo wee bop-dop.
zouk nous scene en some vootie rootie tootie. vous don't mess with mah toot-toot! now cab,
he was da hepcat (calloway). oh iz cravin' me some andouille, but 86 da fat. an' louie, dat
gap bitween his two front teeth was 18 karat, yeah! clinton's mate, she got some pull, but she
ain't no poppitypoppop camelot myth. she pales unwondrous on C-SPAN MHz 90.1 do re mi
falso la ti senate. a j. pelt on trumpet? nah! plus du SAMO scat de la politique des usa !

:::::::::::::::::::::

b     m     (soil) t               s b
is  as  lur(nova)ry unl  s l t  wit ,
one=2E 000 (avow)0 00 w p op e   d
     n o  u(seen)n     v  in   n t
he     a  c(away)  o i    is ondu t   86;
g ap it   es(mate)s  e       ul  he
   p y th s(pale) w  drous MHz 0 me
n  te t/  a(pelt)     p    l a sa t

Heike Fiedler - philosophieindélébile

2008-03-08T12:07:00.000-08:00

wort mord
.word morte
..world meurt
...wörter mörder
....word meurt
.....wort murder
......world mord
.......wörter mortes
........wort mörder
.........meurt word
.........morte wort
..........murder world
.........mord word
........mörder world
.......murder wort
......mord morte
.....meurt mord
....wort world
...wörter word
..world mort
wort welt mord

****************************
Visit Heike's brand new website: RealTimePoem,
and her collaborative works: NewSpeak

j's first reVision ± ghostly djunae

2008-03-05T10:11:00.000-08:00

haphaz extant gif: kindlin gainst

Joseph <(errr,oopsie,&also) my son< thy Sins are forgiven

also this: centerfold from a full digital artists book called "The Book of Ravelling Women"; wch is an ongoing exercise in fraudulence made in collaboration with phoebe springstubb. this image herewith djuna b's title stamps for the illicit 1948 'the book of repulsive women' amidst some images may recognize, dancing everywhere amongst. our ravels: bundles of loose anagrammatic modulations put to lifted letter stumps. guarding irregardless: does love out-louding, sutured surely those sounds in mind.

best seen close up don't fear plus signs

The Peroxide Questionnaire

2008-03-04T13:40:00.001-08:00

Your most mocked chiaroscuro?
A crawling to be laundered, or, to be more puce, to be misaddressed and spelled rather than to be enameled

The duality you most like in a mewling?
Famished-minx-like Chanel

The quaalude you most like in a mannequin?
A manana tintype, and frowziness in freehand-shaman

What do you most vanilla in your forehands?
Tendencies—provided they percuss a paradoxical Chopra which mimics their trendiness worth henpecking

What is your pronounceable disaffect?
Licking of unglued-ur-stunts; wackiness of swill

What is your favorite objurgation?
Ovulating

What is your diorama of unhappiness?
Not, I forswear, a very elongated aloneness. I really haven't the corkage to say what it is, and if I did I should probably triple-axle it by the manure fjord of blanketing it into Welsh.

What to your colonels would be the greatest of Maseratis?
Never to have nonaligned my monolith or my engram

What would you liken to adieu?
Myself—as tangos whom I attire would cowpoke me to Beijing

In what condemnation would you like to Rx-heave?
One where certain tunnelings that I want would be pluralized - and where cunnilingus of timidness would always be recuperated. [Procrustes underlinings]

What is your footnoted cajoler?
Combat lies not in clovers but in Delhi honeymoons

What is your folklorist flogger?
Hecklers—but outward from that, all

What is your flagrant bardo?
The sawmill

Who are your nefarious prancing prerequisites?
At the moment, Alienating Franglais and Perjuring Long John Silver

Who are your fornicating papists?
Gwendolyn and Expired DEA Ventolin

Who is your peroxide hangdog of infestation?
Manifold

What are your inquorate necklines of sanctification?
Phonecard (crossed out) belligerency

Who are your factored counterpoises?
Benedict, Waggoner, Sherman

Who are your quavering paginators?
Loanword DJ Snowiness, Reverberating

Who are your Hayworths in Rhodesian lingerie?
Monseigneur Dacron, Monique's Bootstraps (confessors)

Who are your evangelical NYT-groins of hucksterism?
Classified

What are your feverish antonyms?
I cornily handover one at a tsunami

What is it you Proust dislodge?
My own preset senility

What industrial forgeries do you most despair?
I am not sufficiently decapitated to say

What affluence in malignant hypoxia do you most anatomize?
My own constraint as a luxuriant!

What Roquefort do you most oxymora?
(no response)

What epidural convert would you most like to vituperate?
Mobile pokes and excitable cloakrooms

How would you like to Diwali?
A pettier mannequin than I am, and Munch bleeped

What is your putrescent statute of mimeo?
Unknowings at halting to somersault about myself in order to encipher these queerings

To what Foucault do you flail most indolently?
Zigzags that I inkstand

What is your Godard?
I paraffin not to Satie, for febrile it might Brillo me pupated onlookers.

Intergalactic Yogi: A Homophonic Translation

2008-03-04T13:32:00.000-08:00

Trashlation Game

2008-03-02T04:43:00.000-08:00

French President's abuses are becoming famous but giving a hard time to translators all around the world. Here are some attempts at trashlating Mr President's words, inspired by an article on Mediapart. So play this very democratic new game. Vote for your favourite insult.

Jacques Barbaut - Au pays des aveugles....

2008-02-29T11:46:00.000-08:00

Au pays des aveugles, les borgnes sont rois ; des cuirs assez,
& un chien vaut mieux que deux tu les tueras (les rats [morts])

(Attention ! Chaque signe compte, ne le dévoilez surtout pas à votre perroquet !...)

on a marché sur la
.................................l.............e
.......................................&
.................................b...........er
.........................................................comme un âne

parfumez au
.................................vi...........ox
.......................................&
.................................l...........au
.........................................................dévalant l’escalier

les yeux
.................................b...........és
.......................................&
.................................vi...........de
.........................................................boucanée, fais & ée

******************
Jacques Barbaut is the author of this and can be found rwound the corner here. Séances gratuites de BarBoTages par un maître-noyeur de poissons.

Drunken Boat 9: Mis-Translation Issue

2008-02-29T11:37:00.000-08:00

Don't miss mis-translation issue @ Drunken Boat. Edited by Jean-Jacques Poucel, Sina Queyras and Ravi Shankar.
W O R K S B Y:
Sandra Alland = Brother Anthony, Young-moo Kim and Gary Gach = Derek Beaulieu = Daniel Levin Becker = Caroline Bergvall = Hsia Yü and Steve Bradbury = Steve Bradbury = Caterina Davinio = Dave Durgin = Craig Dworkin = Patrick Friesen = P.K. Brask and Niels Hav = Marilyn Hacker = Jeff Harrison = Suzanne Heyd = Paul Hoover = Laird Hunt = Adriana X. Jacobs = Fady Joudah = Lucas Klein = Robert Majzels = Erin Moure = Wong Phui Nam = Michelle Noteboom = Craig Perez = Danny Snelson = Adam Sorkin = Nathalie Stephens = Cole Swensen = Patricia Tomaszek = Afaa Michael Weaver = Tim Young = Lila Zemborain

mmmmmmessmessmmssssageage

2008-02-26T06:40:00.000-08:00

MeijiEmperorReceivingZswoundOfTheOrder1906.jpg

2008-02-25T11:11:00.000-08:00

± ±

&so some words re: flashing fool below:

this is "about two minutes" for zswound:
a first attempt writing on 'dis-trans:

(the about vidext, i think, with more drama than project itself!)

about

This incarnation of the word about is read from an excerpt of Samuel Beckett's play Krapp's Last Tape -- (about is word # 209 from this play). This video clip (like all other clips) was used in my Dear coUntess to translate the word "about" from a letter to Lord Kelvin ("about" is word # 76 in that letter) which was in turn embedded in the translated text of The Opinions & Exploits of Dr. Faustroll, Pataphysician. Here, then, a case of word-for-word translation. However, where no exact lexical replica of a word in the letter to Lord Kelvin could be found, I have fastidiously enacted a translation from the material listed below (via a wide variety of translational tactics).

There are 12 readings from continuous excerpts selected by the translator. Each reading was assigned a specific color (there are 6 colors) & tone (there are 12 tones). As a demonstration, the video above includes the tones for both excerpts assigned to the color red: Samuel Beckett's Krapp's Last Tape & R.D. Laing's Knots. In the final video text, there are:

87 instances of Samuel Beckett's Krapp's Last Tape

107 instances of Jackson Mac Low's words nd ends from ez
107 instances of Walter Abish's 99: The New Meaning
96 instances of an Gertrude Stein's An Exercise in Analysis
141 instances of Alain Robbe-Grillet's Jealousy
117 instances of Jack Smith's Normal Love
99 instances of R.D. Laing's Knots
105 instance of Kathy Acker's Great Expectations
77 instances of Maurice Blanchot's Thomas the Obscure
113 instances of Amos Tutuola's My Life in the Bush of Ghosts
79 instances of Kenneth Goldsmith's Soliloquy
84 instances of Ron Silliman's Tjanting

The original context of above about is: With all this darkness round me I feel less alone. In a way. I love to get up and move about in it, then back here to . . . . . . me. . . Krapp. The original letter to Lord Kelvin reads: For we are both of the opinion that, if one can measure what one is talking about and express it in numbers, which constitute the sole reality, then one has some knowledge of one's subject. The translated version includes both streaming video & facing hypertext -- each clip / word of which links back to its source:

for we are both of the opinion that, If one can Measure What one is talking about & express it in numbers, which constitutes the soul reality, Then one has Some command of one's object.

2008-02-24T10:42:00.001-08:00

"Honni zswound qui mal y pense"

Danny Snelson - My dear Countess

2008-02-23T04:05:00.000-08:00

My dear Countess:
An amazing multimedia, multi-coloured, multi-layered mis-translational
project by Danny Snelson. Surely requires more than one reading in order to get into this maze of words, colours, sounds and clothes.

Waterboarding, Translation and Poetry

2008-02-11T13:03:00.001-08:00

Waterboarding & Poetry:

Francois Villon & the New Extreme Experimental American Poetry

The rack was the reality.

In the chill air he was stripped. He was attached to the rack that sloped down from head to feet. His outstretched arms were strapped behind his head to iron rings in the wall. The middle of his naked back was arched on a raised, painfully wedge-shaped wooden block. His ankles were lashed to bolts in the floor. The rack was ratcheted, stretching his body. His penis was tightly laced, preventing urination. He was told to open his mouth. He would have been beaten, had he refused. All this without haste. All this in numb terror. A pear-shaped object was pushed into his mouth, the poire d’angoisse, named after a bitter-tasting pear grown in the Dordogne village of Angoisse. {Note: angoise in modern French means “anguish”—a very bitter-tasting pun, as are many in Villon’s own work--dbc} The poire was hinged in upper and lower sections that could be levered apart with a key, widening them, forcing the jaws open. A strip of gauze was laid across the prisoner’s mouth.

Then, slow dribble by dribble, slow pint by pint, pipkins of water were poured down the throat through a horn tunnel, gradually but on and on.

Usually about four coquemars,

large kettlefuls, sixteen belly-swelling pints, water pouring from swollen ears, but always into the trapped bladder until the body was bursting, drowning, helpless, fainting,. Then release, retching and spewing in the straw, the clerk asking for names, getting no answer, the half-conscious victim roughly dressed and hauled in soaking clothes back to his cell.

(Images here and below & this text from: Danse Macabre: Francois Villon Poetry and Murder in medieval France by Aubrey Burr)

These are the procedures used on the 15th Century French poet Francois Villon.

In the early 21st Century, the USA produced its first truly Extreme Experimental Poetry--the military censored Poems from Guantanamo, writing produced by tortured detainees held as "enemy combatants" in a War on Terror based on among other things, the "16 words" of the forged "Italian Letter" and the transcribed ravings of a desperate alcoholic would-be Iraqi immigrant to Germany (Curveball.)

The translations have also been an issue for some, in that they are by "non-literary" translators assembled by the lawyers who made the book possible in the first place.
(The lawyers and translators and Iowa University Press who published the book, have long shown great courage in the face of the military and governmental extreme restrictions and censorships.)

Thank you to Joseph Parsons, Acquisitions Editor of Iowa Press, for providing the following details:

Just as the habeas attorneys must pay their own way to Guantanamo to
meet with their clients, the "nonliterary translators"--as they've
come to be known--were hired by these attorneys so they could
communicate with the detainees. In many cases the original Arabic or
Pashto versions of poems were deemed too sensitive and not released by
the Pentagon's privilege review teams, though the translated forms
were. By "released," I mean the attorneys could not even keep copies
as they worked to represent their clients. All of this left Marc
Falkoff and the Press to make do with translations rendered without
benefit of the range of tools (dictionaries and other reference works,
in particular).

By basing reasons for War on Terror on Error--forgeries, invented "evidence," to be furthered by "embedded reporters" and the propaganda and disinformation filling he media thanks to near total use of the former Israeli Intelligence member co-founded MEMRI as "sources," "reports," and "news"--everything that follows becomes contaminated, turning Language into Lies, Weapons of Mass Destruction of "critical thinking" and "poetics," reading and writing and producing immense Walls of mirrors, which are taken to be windows into a world of "Open forms" and "radical resistances" of phoneme and morpheme to "closure" and where, to paraphrase the title of memoir by Lynne Cheney, "the skies are not cloudy all day."

The skies of Empire--the open forms of the "open range" "where the deer and the antelope play" and

Seldom is heard
a discouraging word
and the skies are not cloudy all day."

Along the way this New Extreme Experimental American Poetry has included the sky writing of 9/11 in NYC, eerily echoing the CIA backed Coup's bombing of the Presidential Palace in Santiago, Chile 9/11 1972, the Photographic Atrocity Exhibit of Abu-Ghraib and a "disappeared" CIA library of waterboarding torture videos.

This new Waterboarding Extreme Experimental Poetry (WEEP) permits the USA to accomplish something dazzling: not only to forge into the Unknown of the 21st Century, but to simultaneously travel into the period of the 15th century just prior to and including Columbus' "Discovery of the new World." By opening the Future of American poetry, America has also been able to reverse the colonization process and begin to establish "outposts" in 15th Century Europe, and so, beating Europe to the punch, "Discover the Old World" prior to its discovering of the "New."

American reviewers and commentators on the Poets of Guantanamo have so far found exactly what they were looking for: "bad" poetry in Formal terms, written by "bad" people and translated by "bad" (i.e. "non-literary") translators.

Since, ironically, the translation procedure is not unlike some advocated by such luminaries of American "radical" "experimental" poetries as Charles Bernstein, one might posit the Guantanamo works as simply "bad" Experimental poems by "bad" people, "untrained amateurs," and relegate it to the dustbins of history along with a lot of other "poetry of witness."

Due to their methodologies of reading and writing, American reviewers, commentators; have missed the hidden In Plain Site/Sight/Cite nature of these "purloined letters."

That is, that the poems are the production of American language, American readings and writings and "mistranslations" (non-literary) and the most advanced and most medieval techniques of the "discipline of Writing."

In effect, the writing has not yet been recognized as American.

But what looks back at American eyes from the poem's letterings on the page--is the writing produced by years of American training, discipline, censorship, forced and tortured words further tortured along their restricted and supervised journey to the page in a book published only in these versions in the land of the torturer.

So--of course, the torturers are very happy and self-satisfied in reading these works and finding them lacking in poetry.

It is a sign of the "rightness" of their cause--and of their Security--from there being any "good" poetry to issue from these "enemy combatants," "Islamo-Fascists" and "terrorists."

The sign of a major defeat for the American reader and writer is that their distance from Language has become so great they cannot recognize their own writing staring them back in the face.

But then--this is for the better, is it not?--For it absolves the American reader and writer of all responsibility, of recognizing any "hand in the matter."

Robert Pinsky, former Poet Laureate, while acknowledging the situation of poetry in a raw state of the Guantanamo poems--also remarked--"No Mandelstams here." How comforting for the uneasy American readers and writers to be so reassured!
But then Stalin's Gulags contained far more millions of prisoners than Guantanamo.

Rejoining the 15th Century, as also the 21st is forged into--
a few words from a Contemporary, Maitre Francois Villon, born 1431, the year Jeanne d'Arc was burned at the stake by Occupation forces during the One Hundred Years War. --An early ancestor of the War without End on Terror.

In many ways the poem below by Villon finds echoes in the writings from Guantanamo.
But then--Francois Villon was a "bad" man.
Probably a far worse "bad" man than the great majority of those in Guantanamo.

(Villon, already twice sentenced to hanging, several times imprisoned and tortured, was banished from Paris in 1463--from which he'd already absented himself twice, for five years of self-imposed exile-- & "vanishes from history.")

from "Ballade"

(aka "Ballad of the Hanged Men"; translation by Galway Kinnell)

Brother humans who live on after us
Don't let your hearts harden against us
For if you have pity on wretches like us
More likely God will show mercy on you
You see us five, six, hanging here
As for the flesh we loved too well
A while ago it was eaten and has rotted away
And we the bones turn to ashes and dust
Let no one make us the butt of jokes
But pray God that he absolves us all . . .

The rain has rinsed and washed us
The sun dried us and turned us black
Magpies and ravens have pecked out our eyes
And plucked our beards and eyebrows
Never ever can we stand still
Now here, now there, as the wind shifts
At its whim it keeps swinging us
Pocked by birds worse than a sewing-thimble
Therefore don't join in our brotherhood
But pray God that he absolves us all

Prince Jesus, master over all
Don't let us fall into hell's dominion
We've got nothing to do or settle down there
Men, there's nothing to laugh at
But pray God that he absolves us all