zpacetesteverythingforever
35 posts
Mercurial Mist is a multifaceted publication shapeshifting across platforms. A compilation of scribbles, love notes, photographs, comic stips, shopping lists, scans, jokes, lyrics… Incarnations of Mercurial Mist will exist on the festival’s main website, while other parts will unravel across platforms tethered via Everythingforever
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When “GIF” was named word of the year in 2012, Oxford Dictionaries U.S.A. credited Tumblr for pushing the word.
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Hello: Hi, this is a chat experiment to the infinite
Goodbye: I see, so we meet at some point
Hello: Yes, there is no time and space, even if you end and I begin
Goodbye: I think its a valid test. See you later, now, forever
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“The only grounds on which the metro poems might be interesting as art is as conceptual art. Levin Becker gives probably the strongest possible reading of them as such: ‘This has . . . changed what it means to characterise something, whether a text or a gesture or a person, as oulipian . . . First came thinking about the constraint, then the actual production of texts reflecting that constraint, then the actual production of texts whose constraint is their production.’ In other words, closing the distance between the text and the constraint has taken the thought out of Oulipo: instead of a constraint that forces you to wrack your brains for words without the letter e, the metro poem is more like a video game where you have to jot down line after line before the buzzer sounds. Levin Becker is right to call this a democratisation of Oulipian procedure—certainly more people are inclined to try and write a metro poem than to write A VOID—and he is also right that the poems suggest Oulipian production is just another part of everyday life. The observations, while valid and probably the most that can be wrung from the metro poems, are far from interesting. Such ideas have been in circulation for some time and have no need for Jouet to propagate them.
By contrast, in NOTES ON CONCEPTUALISMS, Vanessa Place and Robert Fitterman put forward a more interesting direction that Oulipo might take. They argue for a kind of conceptual writing that shuttles back between the micro of language and the macro of structure, creating a tension and instability in the text: ‘Conceptual writing mediates between the written object (which may or may not be a text) and the meaning of the object by framing the writing as a figural object to be narrated.’ The writings of Oulipian Jacques Roubaud and of Christian Bök (who is not an Oulipo author but acknowledges his great debt to the movement) have fulfilled some of this promise.” quoted from name
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