Injustice Continues: Leonard Peltier Again Denied Parole
US & International Personnel losses in Iraq &Afghanistan; Costs of the 2 Wars to US
Number of U.S. Military Personnel Sacrificed (Officially acknowledged) In America's War On Iraq: 4,667
Number Of International Occupation Force Troops Slaughtered In Afghanistan : 1,453
Cost of War in Iraq
Cost of War in Afghanistan
The cost in your community
flickr: DEATH FROM THIS WINDOW/DOORS OF GUANTANAMO--Essays, Links, Video-- US use of Torture
flickr: DEATH FROM THIS WINDOW/DOORS OF GUANTANAMO
VISUAL POETRY/MAIL ART CALL Cracking World’s Walls & Codes Concrete & Virtual
VISUAL POETRY/MAIL ART CALL
No Sieges, Tortures, Starvation & Surveillance
GAZA-GUANTANAMO-ABU GHRAIB—THE GLOBE
Deadline/Fecha Limite: SinsLimite/ongoing
Size: No limit/Sin Limite
No Limit on Number of Works sent
No Limit on Number of Times New Works Are Sent
Documentation: on my blog
David Baptiste Chirot
740 N 29 #108
Milwaukee, WI 53208
Miss Universe Visits Guantanamo: 'A Loooot Of Fun!'
Miss Universe Visits Guantanamo: 'A Loooot Of Fun!'
The current 'Miss Universe' Dayana Mendoza (formerly Miss Venezuela) and 'Miss America' Crystal Stewart visited US troops stationed in Guantanamo Bay on March 20th, the New York Times reports. Here's Mendoza's account of the visit from her pageant blog last Friday. She says the trip "was a loooot of fun!"
This week, Guantánamo!!! It was an incredible experience...All the guys from the Army were amazing with us. We visited the Detainees camps and we saw the jails, where they shower, how the recreate themselves with movies, classes of art, books. It was very interesting. We took a ride with the Marines around the land to see the division of Gitmo and Cuba while they were informed us with a little bit of history.
The water in Guantánamo Bay is soooo beautiful! It was unbelievable, we were able to enjoy it for at least an hour. We went to the glass beach, and realized the name of it comes from the little pieces of broken glass from hundred of years ago. It is pretty to see all the colors shining with the sun. That day we met a beautiful lady named Rebeca who does wonders with the glasses from the beach. She creates jewelry with it and of course I bought a necklace from her that will remind me of Guantánamo Bay :)
I didn't want to leave, it was such a relaxing place, so calm and beautiful.
Saturday, July 07, 2007
7-7-07: RAW WAR, TEARER OF SCREAMING WALL--a little gallery of new pieces with a few oldies mixed in
from series "War Born and Torn Walls"--
"deCompositions" created by bullets, bombings, burnings . . .
children used in wars that affect children in distant originating countries of these wars in "blowback" effect--
("what goes around comes around")--
wars for oil and rubber resources--statue of girl above right is first child killed by an automobile in the usa--
children used in drug wars for shipping drugs to children in the "Homeland"--
war rippling out through the world in proliferating circles of child exploitation--at every level of being until "used up" or "useless"--"disposable"--for sale--the junk heap--
(Note: somone interfered with this Blog--until I figure out how to fix it-- the Links are located at the very bottom of the page--apologies for the inconvenience--some more sites have been added to the Links i highly recommend.)
Here are some rubBEings and collages/paintings done in the last few days, mixed with a few oldies--on one of the oldest themes of poetry & art--Raw War--Screaming Walls--and some recent variations on the Drug Wars, which have "METH OD" (methamphetimine overdose) in their METHOD.
Art & poetry used for the glorification/aestheticization of War--can turn "prison camps" into an "Installation". Language and image--detourned by Power.
(Did you think that only you knew about detournement? The hijacking of language is filled with some very rough customers! )
While i was working on the new pieces at a construction site--it was just before, during & after 4th of July Independence Day celebrations--fireworks on successive nights lighting up the sky and making loud booms and cracks--and firecrackers flying over my head and landing around the construction site, the sidewalks, streets and alleys . . .
"While the bombs burst in the air . . . saw that our flag was stil there"--yes, the rubber imprinted American Flag on the sidewalls of the tires of huge machines sitting like stranded --or patiently waiting--weapons of destruction--having wiped out an old house and its yards--leveled the grounds--and in parts dumped and smoothed gravel--with rows of pipes, boards, girders--lined up for the coming Condo Monument to Real Estate Speculation, the soon-to-appear new offices of new service industries . . .
In other words--Progress--
In our neighborhood, the sounds of firecrackers and fire works are efficently made use of as cover, camouflage, for the firing off of guns.
(Whwere i live is about forty minutes by bys from where i was working--which, since it is near the Lake, is much cooler--and in a part of town where one can work for the most part less disturbed than where i live--though two police squad cars were called on about ten days ago---someone thought i was trying to steal the tires i was making rubBEings off of--tires far bigger than myself--from construction cranes--)
Under cover of the Celebrations, the Spectacles, Progress-- there is always Raw War going on.
While people gaze in "shock and awe" at Fireworks, new Monuments to power and money, all the Spectacles and entertainments--
The Raw War goes on--hidden in plain site/sight/cite--
And while the National Anthem is being sung along with--the Walls are Screaming . . .
The Raw War begins, goes on--right here--right now--beings, things, places--disappearing--as substitute "realities" are installed--in the attempts to cover up "Installations" of "Method", of "Screaming Wall" and usher in a "Homeland Security" of aestheticized "Readymade" views, sounds, consumer objects/art objects . . .
celebrated by poets and artists caught up in rhetorics of "Progress"---
"avant-gardists" or not, in halls of mirrors . . .
played tricks on by "self-reflexive writing/media" . . .
while Raw War eats away, corrodes, slowly poisons, from all around and inside one--
the most concrete seeming actual flowing into dust . . . crushed into fragments . . . hidden in plain site/sight/cite--
the "blowback"--taking effect . . .
But time for me to shut up, eh--i'm not mr. nostradamus nor mr. know-it-all after all!
And with kids throwing firecrackers in my direction--better keep focused on the work, and not my own ranting words . . . contributing to the racket!
"Vers des morts"
"Verses of the Dead"
"Towards (of) the Dead"
"METHOD" . . .
OD" --methamphetamine overdose
Wednesday, July 04, 2007
the following article from The New York Review of Books.
The New York Review of Books
July 19, 2007
The Great Bolaño
By Francisco Goldman
'A writer's patria or country, as someone said, is his language. That
sounds pretty demagogic, but I completely agree with him....' That is
from Roberto Bolaño's acceptance speech for the 1999 Rómulo
Gallegos Prize, an award given by the government of Venezuela for the
best Spanish-language novel of the year in Latin America or Spain.
Bolaño won the prize for The Savage Detectives, his sprawling,
exuberant account of two Latin American poets over twenty-some years,
which made him a literary celebrity and established him as one of the
most talented and inventive novelists writing in Spanish. Bolaño
was routinely asked in interviews whether he considered himself
Chilean, having been born in Santiago in 1953, or Spanish, having
lived in Spain the last two decades of his life, until his death in
2003, or Mexican, having lived in Mexico City for ten years in
between. One time he answered, 'I'm Latin American.' Other times he
would say that the Spanish language was his country.
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Tuesday, July 03, 2007
Two great Visual Poets exchange ideas--
"F L U X" - 1 new article
Suzan Sarı interviewed by Tim Gaze
how did you come to poetry? how did you come to visual poetry?
I remember a little about how I came to poetry; at the age of sixteen, I had funny ideas like poetry was to find out and underline what anybody saw but didn’t talk about and so on. At the same time I always had unbelief to express things by telling or preferred not telling anything by using language as a reaction. Fortunately I have learnt to be hopeful. The ways of not-telling are various. By reading and writing we create lots of problems and I’m not sure about whether they have meanings in real life or not.
Two years ago, while I was going on to write those stupid poems and reading with a potential but something don’t worth to name as chaotic, I met with poetikhars (means ‘poetical culture’) and its founder, Serkan Işın. This wasn’t a real encounter but a spiritual enlightenment (!), & by reading the foreign visual poetry websites. I made some re-readings and have translated a good many essays.
In the beginning I was trying to write how a word can be meaningful without any other symbol or signifier by writing it down ‘alone’.
’Writing’ a pregnant woman(http://www.poetikhars.com/node/433) with the letters of this word. There can be found many ways of writing a word. And if the others’ argument that there is some spiritual things within poetry is true, then why that spiritual thing must be in Times New Roman and 12 typeface?
One of my earlier works carries the features that I especially love doing now, writing with letters not according to a pre-word (in ‘unfair looking’ (http://www.poetikhars.com/node/428)I used parentheses’ between two Ö letters (I have used Ö many times, it is a letter that has eyes) and in my last poem ‘paranthesia’(http://www.poetikhars.com/node/1008) the parentheses themselves constitute the meaning, they aren’t there to underline anything. Able to achieve any meaning is preferable.
In another poem, ‘the mechanism of the dictionary’(http://www.poetikhars.com/node/447), there was a big wheel consisting of little ones done by A; the referentiality in a dictionary. By using the signifiers in any way, writing about signification has lots of advantages when it is compared with writing it down in sentences. Much better in the matters of signification.
Now I don’t feel myself in that circle. By writing in my developing style (it is like learning to write the mother tongue), there come out non-lexical concrete words and this axisless manner doesn’t let my signifiers reverse to signifieds or vice verse.
Talking/writing about visual poetry is describing, representing a certain thing but visual poetry itself gives us the chance of presenting ‘any’ thing only by writing without any description. By the technology of writing we can make out ‘new’ things without knowing about it. And now I am describing this ‘certain’ process by using the conventional ways. I hope I can tell it nowJ. Writing only by considering the process, it makes the poem the non-representation of nothing but only the presentation of itself.
After a period of using non-word colorful things (but there were always letters) I am back only with letters but with many kind of fonts and the courage to distort them deeply. I don’t think my recent works allow the old comfortable readings and I am pleased with them. Limiting the given materials (collaborations or working on found materials) and forcing the poem through its inner side is another valuable experiment. Besides all, writing makes the poem grow through the outer world. In such a way (asemic) of writing there is no replacement of any certain thing, thought. In collages, collaborations etc. there is equality in meaningfulness between the old application of signifiers and the new. Nevertheless, there are still things to do with those techniques to make out and to see much more. What’s more there can be a huge text that I think will come out and there is no problem not to feel it alone.
you have an idea for a super-duper, wide poem which presents a lot of ideas simultaneously?Yes, but I see, I couldn’t say:)
By reading, it seems like I find out a pure thing that comes to life by me and life meets with these new rough words for the first time. In fact this technique is not so used in conventional Turkish poetry, to make new combinations of certain signifiers, the risk of having meaninglessness in the end, isn’t taken so much. are you a group of friends in Istanbul, or several individuals co-operating?
There were a few poets in the beginning, still we are a few but not all the same poets. Serkan Işın (the founder and the editor), Derya Vural, Deniz Tuncel, Ayşegül Tözeren and I are the active ones for a long time. We haven’t seen each other neither before the start of poetikhars nor after and we don’t communicate too much, if there is urgency only on web. Maybe the others are friends and don’t accept me into their community, it is possible.
www.poetikhars.com is not only a visual poetry website but nearly the best platform to discuss the current matters of Turkish poetry for four years.
what kind of exhibitions or performances or other public demonstrations of visual poetry have been in Turkey?
is anything from Islam, perhaps Islamic calligraphy, coming into your poetry culture?
Things are quite different and difficult for Turkish poetry, there is a huge Islamic Turkish tradition but 80 years ago the alphabet was changed. The consequences of this change haven’t been clear yet nor have they been exceeded. It has influenced Turkish literature deeply as well as all culture.
There are traditional crafts like miniatures, bookbinding, tile-making, carpet-weaving, ebru marbling in Islamic Turkish culture. Turkish-Islamic calligraphy, “Hat” (hat means line) has developed mainly under Arabic culture, but then in Anatolia come to have a perfect synthesis. It cannot be separated from its religious roots because of Islam’s prohibitory attitude towards painting. As an extreme example, in 14th century in Anatolia, there was a sectarian style named as Hurufilik (the term comes from ‘letter’). The founder, Fazlullah Astrabadi, re-read the Kuran according to Cabbala and Jewish mysticism. “Hurufilik” for searched the truth in a text, a sentence and a letter on human face.
& please tell me a little bit about the state of Turkish poetry, experimental poetry & visual poetry.
is there a nice Turkish translation for "asemic writing"?
There is nobody concerned with asemic writing beside poetikhars. There is only one published essay with the word ‘asemik’ in its title, and it can be taken as an example for the beginner of asemic. And that was translated by meJ. I used ‘asemik’ and don’t think it is the time to find another word for it while we are struggling with questions like “where is the poem in this visual poem?”
(http://zinharpost.blogspot.com/ is the gallery of poetikhars poets)