Fluxus Poetry Museum: 2011

Saturday, December 10, 2011

CRYsis

Desperately Seeking Capital €U-Zone Debt CRYsis/positiv
Luxus Artistamps 2011 by Litsa Spathi

Desperately Seeking Capital €U-Zone Debt CRYsis/negativ
Luxus Artistamps 2011 by Litsa Spathi

Sunday, April 17, 2011

Friday, April 1, 2011

TRUE Or : April Fool's Day 2011?

Revealed: Gaddafi envoy in Britain for secret talks
Exclusive: Contact with senior aide believed to be one of a number between Libyan officials and west amid signs regime may be looking for exit strategy
# The Guardian, Friday 1 April 2011
http://www.guardian.co.uk/world/2011/mar/31/gaddaf-envoy-britain-secret-talks-exit-strategy
-visual poem by Litsa Spathi

Saturday, March 12, 2011

Battle for Libya

6 March 2011 Last updated at 04:23 GMT
Battle for Libya: Gaddafi troops engage Zawiya rebels
Col Gaddafi's heavy armour is poised outside the town of Zawiya
* Eyewitness: Tripoli in fear
* Global diplomacy

Fierce fighting has rocked Libya's Zawiya, 50km (30 miles) west of Tripoli, as rebels repelled government efforts to retake the key city.

Pro-government forces were pushed out of the city centre in heavy fighting on Saturday morning, but regrouped for a fresh assault.

Early on Sunday, heavy gunfire was heard in the capital.

Rebels fighting Col Muammar Gaddafi have taken control of the port of Ras Lanuf to the east of Tripoli.

The rebels have pushed further west towards Sirte, Col Gaddafi's heavily guarded hometown, and captured the town of Bin Jawad, 160km (100 miles) from Sirte.
http://www.bbc.co.uk/news/world-africa-12654670
-visual poem by Litsa Spathi

Monday, February 28, 2011

He Is no Longer One of Us'l

He Is no Longer One of Us'
Post-Gadhafi Era Begins in Eastern Libya2011/02/28
As opposition forces put Libyan dictator Moammar Gadhafi under increasing pressure, the post-Gadhafi era has already begun in the eastern part of the country. Victorious rebels are turning to the task of governing, but no one knows what will replace the despot...'s system. By SPIEGEL Staff.

A young man named Hussam, a 26-year-old with a Kalashnikov slung over his shoulder, controls access to liberated Libya. Passports? What for? Hussam is more interested in finding out how someone entering the country feels about this enormously important event in his life. "What do you think about our revolution?" he asks.
http://www.spiegel.de/international/world/0,1518,748033,00.html
- visual poem by Litsa Spathi

Tuesday, February 15, 2011

Silvio Berlusconi to be tried by female judge

"Silvio BERlustCONI to be tried by female judge" - visual poem by Litsa Spathi

Friday, February 11, 2011

Congratulations to the people of Egypt!

Der Rücktitt"or
"Joy as Mubarak stands down"
February FREEday evening 11/2011

a few ours after the

"Army calls for protest to end"
B&W Version
a day after the

"Thriller in Cairo and Fury on the streets as Mubarak clings on" Speech of Mubarak on Friday evening, febr. 10 a few ours after the

i"Egypt live: Mubarak ‘on verge of quitting’"
Febr. 10, 201
a few ours after the

"Frühe Ostereier" or
"Early easter eggs" or Exclusive:
" Saudis told Obama to back Mubarak"
February 10 2011 12:01AM
a week after 4. Febr, 2011"the ‘day of departure!?’ - Ultimatum"
visual poem by Litsa Spathi

Thursday, February 10, 2011

Early Easter Eggs?

"Frühe Ostereier" or
"Early easter eggs" or Exclusive:
"Saudis told Obama to back Mubarak"
February 10 2011 12:01AM
a week after 4. Febr, 2011"the ‘day of departure!?’ - Ultimatum"

CMubarak quits as Egypt ruling party head -
a few ours after the

US signal to President Mubarak: get out now -
February 5 2011 12:01AM

a day after Friday 4. Febr, 2011"the ‘day of departure!?’ - Ultimatum" - visual poem by Litsa Spathi

Trial for Berlusconi ?

"February 9, 2011: Fast-track sex trial for Berlusconi" - visual poem by Litsa Spathi

Friday, February 4, 2011

‘day of departure!?’- Ultimatum : 4. Febr. 2011

"Cairo on brink for ‘day of departure!?’-Ultimatum 4. Febr. 2011" - visual poem by Litsa Spathi

Wednesday, January 26, 2011

win the future

With a little help from the space race and the story of the Chilean miners, President Obama appealed to Americans last night to “win the future” with the wholesale reinvention of their economy for the age of global competition.

Sunday, January 23, 2011

Happy Birthday Poetry

Happy Birthday Visual Poetry by Litsa Spathi

Monday, January 3, 2011

Robot Troy - Flux-object

Robot Troy: (Flux)-object book by Litsa Spathi for MuBe Brasil

Robot Troy

Robot Troy by Litsa Spathi for MuBe/Brasil

Conceptual Poetics

An Editorial Pause by Kenneth Goldsmith

On a recent radio interview, Language poet Bruce Andrews talked about how, back in the early 70s, using a paper cutter radically changed his work, breaking up his writing into a modular process. It was the correct response for the time. Today, we have immense information moving capabilities at our fingertips and new movements like Conceptual Writing or Flarf are the correct responses for our time. If writing is not taking these new conditions into its poetics, it simply cannot be considered contemporary. If nothing else, what the Conceptual Poetry and Its Others conference did was codify this tendency for the record.

The other significant notion that emerged from the conference was that conceptual poetics is a many-headed monster, showing itself wildly adaptable to a wide variety of interests and agendas, the baseline of the practices being floated by technology. In a sense, what the conference did was to bring the field of poetics up to date and in line with other art forms and long-established cultural trends.

Words like "sampling," "appropriation," "cut-and-paste," "mixing" and "remixing" were in constant use as were frequent references to technology, globalization and multi-lingualism. The papers and discussions were very much focused on the concept of poetry off the page, bleeding into galleries, performances, sound installation, on the airwaves, interventionist strategies, websites and blogs, all of these not being the traditional spaces where poetry happens. Yet all the poets got up and "read," and all have published numerous books. Conceptual poetry is a poetry that, in fact, knows no bounds; in this, its wildly contemporary. As respondent Brian Reed put it, "Genres don't evolve, they get more confused over time." Reed claimed that the poet is now a post-production studio, enabling new notions of collaboration fueled by distributed agencies and sites of production.

During one of the discussions, an audience member queried one of the panelists on the use of the term "avant-garde," a term that the audience member claimed was retrograde. The respondents countered this claim by saying that perhaps a reclamation of the avant-garde was possible as the interdisciplinary spaces reintroduced by technology made it possible for poetry to inhabit them comfortably; where poetry meets technology, its hard to keep poetry in its box as only "poetry" and only "poetry."

Notions of what constitutes subjectivity were discussed. Following my theory of "unboring boring," Marie Smart introduced the idea of "unsubjective subjectivity," as a reversal of the creative process. Rather than perceive this as a negation, Smart suggested that we think of this as a "canned subjectivity." In conceptual writing, choices are made by the writer, denying its machine-like tendencies, suggesting instead a non-robotic unsubjective subjectivity. Most everyone agreed that subjectivity is impossible to erase in this writing. Similarly, Jesper Olsson of Sweden's OEI magazine introduced the idea of an "editorial poetics," claiming that the actions of massive tendencies these days toward archiving could, in itself be construed as a poetic act. Translation and multi-lingualism were frequently discussed topics. Several of the respondents claimed that the act of translation and moving between languages could be construed as a forms and methods of conceptual writing. Both Charles Alexander and Jonathan Stalling cited procedural and conceptual ancient Chinese poetry as antecedents to current conceptual practices.
Laynie Brown had audience members read the results of her survey asking dozens of women what they thought conceptual poetry was. The results were varied and claimed up a heretofore absent space for a feminist conceptual poetics. Vanessa Place, in her respondent paper, read such a text -- conceptual, procedural and bodily -- instructions on how to insert a tampon. Place and Rob Fitterman both proposed that a genre of post-conceptual poetics was already in place, allowing for more explicit political agendas as well as an opening up conceptual poetics to an absorption of more conventional formal and subjective tropes.

Throughout the weekend, hundreds of audience members, panelists and respondents were in accord as to the general principles of conceptual poetics. Only one respondent, Graca Capinha, expressed contempt for the genre, claiming that words shouldn't be made into "objects" or "commodities" for a hungry market, something she felt was swiftly happening. She lamented the fact that these writers have not made active political change as poets in Portugal (her country) did during the dictatorship where they were instrumental in change. She refuted the idea of an "unsubjective subjectivity," suggesting that by abandoning subjectivity, poetry was in danger of losing its function.

The last notes of the conference were sounded by various audience members who suggested that conceptual poetics is a contemporary way of writing that can be adopted almost any variant. Christian Bök seconded that notion by saying that the genre has evolved from something invented by three guys drinking beer in a bar in Buffalo a decade ago to widespread way of writing poetry today, reiterating that conceptual poetics is, in fact, the right poetry for the right time.

Source:Conceptual Poetics: An Editorial Pause by Kenneth GoldsmithPoetry Foundation - Harriet: a blog from the Poetry Foundation

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