By Dick Higgins
Written for the lay reader in addition to for educational literary theorists, this ebook bridges the gulf among the inventive avant-garde in track, visible arts, and experimental literature and the overall public. Higgins delves into a number of components, yet this is an instance of 1 form of poem he works with: those pieces that stream like thisthose pieces i say are snowflakes i saythose pieces that circulation like thisthose pieces Along with many different artistsJohn Cage, Merce Cunningham, Robert Rauschenberg, and Jackson Mac Low come to mindDick Higgins has investigated and invented a number of genres and varieties, operating specifically in intermedia, the fusion of 2 or extra discrete media. His poetics trip a long way from the poetry of the previous. the following he makes use of the fusion of the receiver’s” and the artist’s horizons, their wisdom, emotions, experiences, and imaginings to supply a brilliant account of creative experimentation during the last thirty years.
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Sample text
6] Thus the parole in libertà (1909) of the futurist T. F. Marinetti or the dada lautgedichte of Hugo Ball (1917), both of which flourished at this time and both of which, while they may include elements of humor, are not particularly intended as divertissements as is, for instance, the Edward Lear piece I cited. The cycle since then is a sort of arc of increasing acceptance of these genres as our mentality has shifted from the normative art of power in the late nineteenth century toward an art of experience and paradigm today.
Anyone who wants to distinguish and verbalize the differences between the concrete or verbal sort, as in the works of Eugen Gomringer, Mary Ellen Solt, the earlier Ian Hamilton Finlay, or Jonathan Williams, and the new works by Finlay (the sailboats), Alain Arias-Misson, or Thomas Ockerse, will find this distinction useful. For those photographic sequence-works of poesia visiva that are extremely close to some works of concept art, such as some pieces by Robert Smithson, it is almost impossible to get a sense of text when one reads the work.
A hard-line qualitative distinction is, in my opinion, not possible, but a general quantitative one, based on the degree within the intermedial polarity between text or visual orientation, is useful for taxonomic purposes. Anyone who wants to distinguish and verbalize the differences between the concrete or verbal sort, as in the works of Eugen Gomringer, Mary Ellen Solt, the earlier Ian Hamilton Finlay, or Jonathan Williams, and the new works by Finlay (the sailboats), Alain Arias-Misson, or Thomas Ockerse, will find this distinction useful.