CHIROT ZERO ZINE--ANNOUNCING NEW BLOG

Dear Followers, Friends, fellow Workers:

I have just begun a new blog/zine called
Chirot Zero Zine A Heap of Rubble--
Anarkeyology of hand eye ear notations
---
http://chirotzerozine.blogspot.com
the blog is more exusively concerned than this one with presenting essays, reviews (inc. "bad reviews") , Visual Poetry, Sound Poetry, Event Scores, Manifestos, Manifotofestos, rantin' & raving, rock'roll, music all sorts--by myself and others--if you are interested in being a contributor, please feel free to contact me at david.chirot@gmail.com
as with this blog, the arts are investigated as a part of rather than apart from the historical, economic, political actualities of yesterday, today, & tomorrow
as with al my blogs--
contributions in any language are welcome

Free Leonard Peltier

Free Leonard Peltier
The government under pretext of security and progress, liberated us from our land, resources, culture, dignity and future. They violated every treaty they ever made with us. I use the word “liberated” loosely and sarcastically, in the same vein that I view the use of the words “collateral damage” when they kill innocent men, women and children. They describe people defending their homelands as terrorists, savages and hostiles . . . My words reach out to the non-Indian: Look now before it is too late—see what is being done to others in your name and see what destruction you sanction when you say nothing. --Leonard Peltier, Annual Message January 2004 (Leonard Peltier is now serving 31st year as an internationally recognized Political Prisoner of the United States Government)

Injustice Continues: Leonard Peltier Again Denied Parole

# Injustice continues: Leonard Peltier denied parole‎ - By Mahtowin A wave of outrage swept the progressive community worldwide at the news that Native political prisoner Leonard Peltier was denied parole on Aug. ... Workers World - 2 related articles » US denies parole to American Indian activist Leonard Peltier‎ - AFP - 312 related articles » # Free Leonard Peltier 2009 PRISON WRITINGS...My Life Is My Sun Dance Leonard Peltier © 1999. # Prison Writings: My Life Is My Sun Dance - by Leonard Peltier, Harvey Arden - 2000 - Biography & Autobiography - 272 pages Edited by Harvey Arden, with an Introduction by Chief Arvol Looking Horse, and a Preface by former Attorney General Ramsey Clark. In 1977, Leonard Peltier... books.google.com/books?isbn=0312263805... - # Leonard Peltier, American Indian Activist, Denied Parole And Won't ... Aug 21, 2009 ... BISMARCK, ND — American Indian activist Leonard Peltier, imprisoned since 1977 for the deaths of two FBI agents, has been denied parole ... www.huffingtonpost.com/.../leonard-peltier-american_n_265764.html - Cached - Similar - #

Gaza--War Crime: Collective Punishment of 1.5 Million Persons--Recognized as "The World's Largest Concentration Camp"

Number of Iraquis Killed Since USA 2003 Invasion began

Just Foreign Policy Iraqi Death Estimator

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
icasualties.org/oif/

Number Of International Occupation Force Troops Slaughtered In Afghanistan : 1,453
http://icasualties.org/oef/


=

Cost of War in Iraq

$691,188,637,164

Cost of War in Afghanistan
$229,137,844,021

The cost in your community

www.nationalpriorities.org/index.php?option=com_wrapper&Itemid=182

flickr: DEATH FROM THIS WINDOW/DOORS OF GUANTANAMO--Essays, Links, Video-- US use of Torture

VISUAL POETRY/MAIL ART CALL Cracking World’s Walls & Codes Concrete & Virtual

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
http://davidbaptistechirot.blogspot.com
Addresses: david.chirot@gmail.com
David Baptiste Chirot
740 N 29 #108
Milwaukee, WI 53208
USA

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, January 05, 2008

Remaking Movies, Remaking Maps, Remaking Memories



Remaking Movies, Remaking Maps, Remaking Memories


A found poetry triptych of cinema & segregation, of ethnic cleansing, reappearance and disappearance



My thanks to Matina Stamakis for sending me the list of remakes sole responsibility for this use of it is my own


“It is a science-fiction film set in the past”—Fellini on his Satyricon


“Nowadays, you can’t ridicule an Irishman on the television, you can’t ridicule a Jew, and you can’t ridicule a Negro. But they can kill us all the time—make everything out of us they want. Every night you see them on the television—killing us Indians. That’s all they do.”—Chief Meyers, 1965





Big Foot in death, Wounded Knee.


Check out the list of remakes for the next 3 years:


First, those slated for 2008, beginning half-way through the list:
36. The Valet (2008)
37. Knight Rider (2008)


Remembrance of Things Past revisited: “The Past Recaptured”



Rice Compares Israeli Occupation to Infamous US Segregation

"In private conversations - and as she said in Annapolis - Rice tends to compare the Israeli occupation in the territories to the racial segregation that used to be the norm in the American South. The Israel Defense Forces checkpoints where Palestinians are detained remind her of the buses she rode as a child in Alabama, which had separate seats for blacks and whites. This is an
uncomfortable comparison, of course, for the Israelis, who view it as "over-identification" on her part with Palestinian suffering." -




“Colored Waiting Area” Bus Station, Dallas, 1950’s

Aluf Benn, "What's the hurry?" (www.haaretz.com - 12/27/07)



Checkpoint

Check out the list of remakes for the next 3 years:


38. Dirty Dozen (2008)
39. The Echo (2008)
40. The Warriors (2008)
41. The Jericho Mile (2008)



ETHNIC CLEANSING GOES ON AND ISRAEL WANTS YOU TO ACCEPT IT

Ilan Pappe: the peace process means what piece of Palestine Israel is supposed to annex and what Bantustan is supposed to be given to the Arabs



By Emanuela Irace from il manifesto 23/12/07
( the complete interview is found: On Peacepalestine, the English translation of an Ilan Pappe interview made to Italy's il manifesto

http://peacepalestine.blogspot.com/2007/12/ilan-pappe-interviewed-in-italy.htm )

42. Star Blazers (2008)


43. Carousel (2008)


Historian of dissent, �revisionist�, born in 1954 in Israel, son of Jews who fled from the Germany of the �30s, he (Ilan Pappe) has published a half dozen books. Amongst the most recent works there is �The ethnic cleansing of Palestine�



44. Race with the Devil (2008)
45. Anguish (2008)

The consequence is that when the state of Israel was established, nobody blamed it for the ethnic cleansing which it had been founded on, a crime against humanity carried out by those who planned and fulfilled it. From that time on, ethnic cleansing has become an ideology, an infrastructural decoration of the state. A matter that is still topical, since Israel�s primary target is demographic: to seize as much territory as possible with the least number of Arabs living in it as possible.�


46. Footloose (2008)
47. The Fly (2008)
48. Piranha (2008)

By what forms and means does the ethnic cleansing go on?

49. The Driller Killer (2008)
50. Ikiru (2008)
51. Tomo (2008)
52. Oh, God! (2008)

�Through �cleaner and more presentable� systems. The Minister of Justice has been trying for a month to legitimize the illegal settlements by leaving the outposts in place. We�ve learnt that the High Court of Justice is pondering whether to authorize the government to make a cut-down on fuel supplies, thus leaving Gaza without electricity, where there are a million Palestinians who would find themselves in the situation of not being able to have access to drinking water, since the water-bearing stratum is polluted with sewage and people can drink it only if there is an electrical water purification system. Yet, there are many other ways and examples to annihilate the Palestinians, in primis the Wall, accepted by the US and the EU.�


53. The Topkapi Affair (2008)
54. I Love You Again (2008)
55. Outsourced (2008) (TV)
56. Flirt (2008)
57. Modern English (2008)
58. Short Circuit (2008)




What can be done to reverse this process?


59. White Tulips (2008)
60. My Sassy Girl (2008)
61. Labyrinth (2008)
62. Harry and the Butler (2008)
63. Silent Night, Deadly Night (2008)


�First of all, we have to change our terminologies. It�s not about a clash between Jews and Palestinians. It�s matter of colonialism. It�s incredible how a colonialist policy can be still accepted in the 21st century. We have to force Israel to comply with the same measures that were imposed on racist South Africa in the �60s and the �70s. Today there are opinion movements of young Jews, in Europe and in the US, who point the finger at Israel�s colonialist policies and accuse it as a colonialist and racist state, not because it is a state founded by Jews.�


64. The Smurfs (2008)
65. Revenant (2008)


In France and in other European countries there are laws that place restrictions on the right to express �revisionist� opinions towards Israel, yet there are no steps taken against the continuous violation of the UN resolutions.

66. The Women (2008)
67. 36 (2008)
68. Fame (2008)

�I underwent such an experience about two years ago. One of my lectures was interrupted by a group of extremists, composed of Jews like me, who prevented me from continuing. The police came in, to protect rather than to accuse me. As to keeping silent, it�s by far easier for people to think in a conventional manner. One has to have a lot of energy and originality to act in non-conformist ways. For instance, UN Resolution 194 states that the Palestinian refugees have the right to return to their land. Yet it�s much easier to do nothing and keep thinking in the usual identical formula.�


69. The Incredible Shrinking Man (2008)
70. Get Smart (2008)


Check out the list of remakes for the next 3 years:

“Where life had no value, Death, sometimes, had a price”

You Can’t Go Home Again



Outcomes and Statistics of Siege imposed on Gaza Strip




Posted: 31 Dec 2007 11:40 AM CST on Sabbah Blog
(http://sabbah.biz/mt/archives/2007/12/31/outcomes-and-statistics-of-siege-imposed-on-gaza-strip/ )

1. Logan's Run (2010)

52 Patients killed by Israeli Occupation due to Closure!
96% of factories are closed



2. I Dream of Jeannie (2010)

67 thousand factories employee become out of work
25 thousand of textile workers became jobless


3. Clash of the Titans (2010)

100% of textile factories are closed

4. The Edukators (2010)

$58 million are the losses of wooden industries


5. The Lives of Others (2010)


570 thousand of wooden industries workshop are closed


6. Meatballs (2010)

20-30 food lorries inter Gaza Strip instead of 300 in the past

7. Voltron (2010)
8. Intimate Strangers (2010)

85% of citizens are under poverty line


9. Torrente (2010)
10. 1-900 (2009)

650$ is the rate of annual income per capita




11. Bunny Lake Is Missing (2009)
12. Magnum P.I. (2009)


65% of stores works are decreased



13. The Tingler (2009)
14. Isle of the Dead (2009)

$55 million are the wastage of the agricultural sector

15. The 39 Steps (2009)
16. Hellraiser (2009)
17. Cannibal Holocaust (2009)
18. Mute Witness (2009)


$120 million are the wastage of the industrial sector



19. Untitled Dark Avengers Remake (2009)
20. The Evil Dead (2009)
21. Kiki's Delivery Service (2009)
22. Quest to Ref (2009)
23. Gambit (2009)


$52 million are the losses of the fiber sector


24. In His Hands (2009)
25. Howard Stern's Porky's (2009)
26. Untitled Evangelion Project (2009)


470 cancer patients are likely to die


27. Brothers (2009/I)

4500 strawberry farmers become out of work

28. Raspberry & Lavender: Diaries of a Lavender Girl (2009)
29. Shinobi (2009)
30. The Lavender Hill Mob (2009)

$14 million are the wastage of strawberry and flowers season

31. You Are So Handsome (2009)
32. Rififi (2009)
33. A Christmas Carol (2009)


$370 millions are the costs of stalled construction projects


34. The Birds (2009)
35. The Wolf Man (2009)

3000 fishermen become out of work due to siege

36. The Valet (2008)
37. Knight Rider (2008)

160 thousand workers are out of work

38. Dirty Dozen (2008)
39. The Echo (2008)
40. The Warriors (2008)
41. The Jericho Mile (2008)
42. Star Blazers (2008)

6 months, Gaza with closed crossings and borders

43. Carousel (2008)
44. Race with the Devil (2008)
45. Anguish (2008)

136 medical instrument are stopped or our of order

46. Footloose (2008)
47. The Fly (2008)
48. Piranha (2008)

97 sorts of medicines on the verge of depletion


49. The Driller Killer (2008)
50. Ikiru (2008)
51. Tomo (2008)
52. Oh, God! (2008)

107 class of basic medicines are depleted from Gaza Strip

53. The Topkapi Affair (2008)
54. I Love You Again (2008)
55. Outsourced (2008) (TV)
56. Flirt (2008)
57. Modern English (2008)
58. Short Circuit (2008)

22 money holistic are suspended from work due to the siege


59. White Tulips (2008)
60. My Sassy Girl (2008)
61. Labyrinth (2008)
62. Harry and the Butler (2008)
63. Silent Night, Deadly Night (2008)

322 patients are in serious danger and in need of urgent treatment


64. The Smurfs (2008)
65. Revenant (2008)
66. The Women (2008)
67. 36 (2008)
68. Fame (2008)

1562 patients in need of treatment outside Gaza Strip

69. The Incredible Shrinking Man (2008)
70. Get Smart (2008)
71. A Tale of Two Sisters (2008)
72. Possession (2008)
73. Bangkok Dangerous (2008)
74. The Eye (2008/I)

Israeli Settlers Burn Mosque in Surrounded Village Near Bethlehem

Israel Burns a Historic Mosque in Bethlehem

Posted: 04 Jan 2008 01:27 PM CST

A group of Israeli settlers torched an historic mosque in the town of Al-Khader, near Bethlehem, on Tuesday. The settlers used 20 beehives as fuel for the fire, after stealing the beehives from a Palestinian farm located near the mosque.

Remains of burned Mosque in Al-KhaderThe Al-Hamadiyya Mosque is the main center for prayer for most of the villagers in Al-Khader village, and is believed to be 700 years old.

The villagers restored the mosque several years ago, after they were prevented from going to other nearby mosques due to Israeli restrictions. The town of Al-Khader is completely surrounded by Israeli fences and the Wall, which is being constructed on the village land.

Israeli settlers have been attempting to seize land around Al-Khader for the expansion of the Jewish-only colonies of Efrata and El’azar. Al-Khader has faced increased restrictions by the Israeli military, including being unable to leave the village, which is completely surrounded.

So, with no way to leave their village, a group of local Muslim leaders restored the ruins of Al-Hamadiyya mosque. An imam was appointed two years ago to head the restored mosque.

The imam and fellowship of the mosque called on the Palestinian Ministry of Tourism and Antiquities to help them rebuild the burned mosque, and to help protect the village from future Israeli attacks.

by Saed Bannoura - IMEMC News

HENRI CHOPIN LIVE IN FRANCE 1995

Hommage a Henri Chopin

HENRI CHOPIN live at

HENRI CHOPIN LIVE IN FRANCE 2005

On Internet, Project Rastoko, Energy Field ---By Slobodan SKEROVIC

Slobodan Skerovic

ON INTERNET, PROJECT RASTKO, ENERGY FIELD


Introductory letter on energy field

On “Rastko”, but before that on Internet, or about an old SF idea of “replicators” as the basic moment in humankind transformation.
The idea of replicators includes immediate creation “from the machine”, creation of material objects by transforming energy. Such an economy concept brings down any traditional theory of “exchange” of goods as the basic economical model of humankind.
“A replicators for everyone” takes the individual above the society and releases it from the enforcement expressed as “the needs of the many outweigh the needs of the few”.
The Internet appears as the first real actual model of the replicators. Internet is an energy field which offers “costless” – “non exchangeable” – spiritual good, therefore – free.
A great struggle between perpetrators of the classic, today global, economic model, and of this free equivalent of “horizontal community”, is to be expected.
Will there be “burning down the Internet”, will the history repeat, shall we have a new iconoclasm – webclasm?
Have the Incorporations understood what is going on? Are they now fallen into the ecstatic state of Yogi the Bear? A new river popped up, full with fish. They grabbed their handfuls, but fish is still jumping about. Will they start dumping what they already got, so they can grab more?
Internet is not like oil, it is a global energy field. Internet is totally de-territorialized. Actually that is in accordance with the New World Order. But dialectics of the order is such – Internet now to a large degree threatens one large industry – the entertainment industry! And not just that one…
One of the first counterattacks of the NOW is prolongation of the copyright. So we can not read for free authors who left this world 50 years ago. Now the limit is 70 years. This is the real beginning of webclasm. This is dumping of healthy apples, because the hungry have no money to pay – so they can drop dead as well.
There already exists one taboo – the water engine. Everybody knows that, no one dares to make it. In the realm of software, the worst OS prevailed. But it also suffers from Internet and soon enough we shall see its end.
We will have better OS on the Internet, we will not depend on the “one Windows”. We will have “Ubik” instead of “shape”.
Knowledge is force, knowledge is might – these are not empty words. This phrase has profound, multilevel meaning. Monopoly of knowledge drowns in the ocean of Internet. Incorporations maybe can protect their issues of worthy authors, but there are so many worthy authors which have not signed the Contract with Devil. They freely publish knowledge of the same quality. Knowledge comes from the spirit, and from spirit it is freely tapped.
The role of art in this action is of priceless importance. Products of art radiate energy and that source can not be spent. One book will not be spent as soon as someone reads it. A painting will not fade away because someone saw it. Art is indestructible. And attempts of the collective mind to create consumable “art” from consumable products have failed.
And this failure means only one thing – art preserves from decay people – “consumers”. People will not be spent if they “consume” art, but they will be spent if they consume “fun”.
Art is Ubik.
Internet is a medium of art – clean, non expendable energy.
Internet is the remake of the myth of Eros and Psyche. Internet is Eros which does not fall asleep. And Psyche never drowns into dark.

On Rastko and Signalism

Project Rastko and Signalism created a fusion during the autumn of 2007. Quite a number of Signalist works, from theoretical to artistic, found its place on Rastko. Quality attracted quality. Such a fusion is opposed to the relationship of the “opposed poles” which fusion creates “passion” – consummation. By fusion of Signalism and Rastko the quantity of energy has been enlarged, and both “sides” profited from that – a new current of inspiration has been created.
Here, as well as with the great Njegos, it is clear that smaller river does not disappear into the bigger one. Such a hierarchical concept collapses within the realm of energy field. Both Signalism and Rastko comprehend influx as the Ocean itself. Right there is where discrimination disappeared.

http://www.rastko.org.yu/knjizevnost/signalizam/index.php#_rastko


Web – Babylon – Resurrection of Myth


Internet fully reflects the state of humankind – knowledge is dispersed and now we look for a mode to incorporate this knowledge into each individual. Again we are facing a myth – this time it is the myth of the Babylon Tower.
Will gods, bhagava, little devils, again climb on Arjuna’s shoulder and talk him into killing his relatives and friends?
Can Web be brought down like Tower?
In this Web each node has a potential to outgrow the Web around it.
This question can also be put as an ontological one – isn’t Web an endless mode of the free movement of Spirit?
And poetically – isn’t Web an already torn down Tower of Babel, which only so crumbled realizes the idea of distribution of knowledge in each of its points?
And truly, dialectics is obvious. NWO rushes towards its anti-idea, it longs to meet it.
Now is the “end of history” and we can not learn from history any more. What will happen, will not be history. What is happening now is not history.
Now is fermentation of the ripe fruit, now spirit is being distilled, the ambrosia.

Friday, January 04, 2008

El Colonel Smiles



El Colonel Smiles

For Roberto Bolano

Yo, por bien tengo que cosas fan seneladas, y por nunca oidas ni vistas, vengan a noticia de muchos y no se entetierren en la sepultura del olvido.
--Lazarillo de Tormes

El Colonel smiles. Pleasure birds fly in exotic jungles, among tableaux of hacked and burned nude bodies assuming famous paintings’ poses. The aesthetic arousal stimulates his penchant for a “formal” fetishization of alliteration. Straining to suppress his laughter, he murmuringly intones: “Impeccably attired in immaculate form-fitting fatigues whose rigorously ironed creases crackle with each movement and gesture, he strides among his technicians, laconically ordering a different angle here, another take there, a still living victim to be placed over there. The crisp morning air is a sweet salience; the taste in the mouth is of clotting blood.”
Licking his lips in anticipation, his eyes through aviator glasses gaze to the red flecked vulva of a dismembered young woman . . .
A brightly colored bird lands near the alluring meat, pecking its way towards the prized mound. El Colonel snaps a brisk order. The startled and obedient bird launches into flight. With deadly accuracy El Colonel brings it down. Blood from a small hole in its breast bubbles out among the girl’s slashed thighs . . .

El Colonel smiles. Peeling a tangerine he looks to the misty hills of morning. Dew flecks the flesh of flowers at trembling verge of opening. His fingers play among the fruit’s sections. Probing,--to elicit a secret.



El Colonel smiles. “Poetry is born of suffering. Poetry, born of torture—a more delicious beauty to be prompted and petted, O roseate Muse of pain.”
He fondles a razor-sharp letter opener. Licking his lips, he slits a new file. Classified forms and photos of “missing persons” come tumbling out . . .
. . . Names—addresses---relatives’ reportings . . . “last seen by—at—when”
. . . El Colonel caresses the photos . . .





El Colonel smiles. Facing the cadets’ young, soft faces . . . their expectant, obedient eyes—he writes with a felt tip marker on a vast white board, feral teeth gleaming in the brightly lit lecture room. Among headings and sub-headings he sketches a plan . . . “Memorize this closely, my children, it is not in any manual . . . remember it well, for it is the key to unlock the doors into the Temples of Art, the Theaters of Poetry, The Cinemas of Catharsis.”





El Colonel smiles. The Americans have published a book of poems by detainees. The products of torture, censorship, controlled translations, the poems meet with poor reviews in terms of “poetry.” Might not the productions of a poetry of torture be greatly enriched by bringing to them the benefits of his experience, his expertise, the generous gifts of a lifetime’s aesthetic experimentations?

El Colonel smiles. Neatly refolding a fresh newspaper along its crisp pleats, he places it on top of a precisely aligned stack to his left. Turning slightly to his right, he lifts and efficiently opens another briskly crackling journal from the morning mail. Every few days, in one or another language, at varying lengths in differing fonts under tersely worded headers and with now more, now less details, there are appearing enigmatic reports of a series of American poets gone missing. From the library of a bucolic small college, from a hotel lobby in a great city, from the bathroom at a conference, from sidewalk cafes and sumptuous banquets, from illicit rendezvous’ and quiet nights in offices, now here, now there, American poets “minor” and “major” are vanishing without a trace.

El Colonel smiles. He sips from a deep drink of sweetened and spiced irony He, the trainee of American Special Forces, a graduate of the old School of the Americas, he is now the Master of Ceremonies, teaching the Americans far more than a thing or two in the Art and Poetry produced by torture. By Fear. By the spontaneous combustion of Disappearance, by absence erupting into the presence of a “day like any other.” By rending the veilings and veneers of “artifice” and “opacity” and exposing a Black Hole into which all such shininess vanishes. By rendition spiriting away the shitting and trembling “purifiers of the language of the tribe” to be baptized in a font of filth, blood, come and tears.

El Colonel smiles. “Yea, verily, they shall feel the wrath of my Prod,” he murmurs, his fingers caressing the instrument’s metal dreamingly, as though playing the “backbone flute” of a famous Russian poet. Leafing through the files of the latest arrivals, he studies their photos, the bits and pieces of examples of their work culled from the internet, the various bits of biography, critic’s comments, book blurbs, the sententious pronunciamentos that make up an American poet’s CV. The Universities most are associated with interest him only in terms of the corporations and government contracts they are involved with.

El Colonel smiles. In the beginning was the Word and it dwelt with the original Author, the Non Plus Ultra Writer of Blockbuster Epics., the Master of the Page Turners, the Laureate of the door-stopping tome, the Bearded Bard of Radical Verse and Purple Prose, the eminence grise of the Academy, the Namer, the Shaman, the Seer, the Supreme Source of the Scribblers and copying Scribes. To return poetry to its origins, before the word, and then to shock it back to life, to force it to speak again from the primordial darkness, to make it speak again the craven and craving phrase, “Let there be light;” this is among my projects, El Colonel murmurs in a self-invented code.

Permitting himself a dry staccato laugh, El Colonel, speaking in the tongue of his devising, murmurs, “Yes, let there be light—but an electric light! For this is an advantage the Old Versifier did not have.” Flicking his stainless steel “lighter,” he “lights” a cigarette, smiling as he realizes what “shocking” thoughts he “occupies his time” with. His hands and eyes go back to the files, cigarette smoke drifting blue in the clear light of morning.

((( Happy New Year ,,,




Date: Thu, 3 Jan 2008 00:01:44 +0100
From: thierry.tillier@gmail.com
Subject: ((( Happy New Year ,,,

 
 
((( Happy New Year ,
 


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Tuesday, January 01, 2008

Ya No Escritura de Poesia Asentimiento y Asesino//Mo More Writing the Approved and Murderous Poetry










YA NO LA ESCRITURA DE POESIA ASENTIMIENTO Y ASESINO




NO MORE WRITING THE APPROVED AND MURDEROUS POETRY



Sunday, December 30, 2007

el boek861 esta de vuelta




Date: Sun, 30 Dec 2007 14:34:40 +0100
From: cesar@boek861.com
To: fog597@yahoo.com.ar
Subject: el boek861 esta de vuelta

http://boek861.com
1
Ya de vuelta de nuestro periplo navideño hemos venido con las ideas muy claras: Sin miedo y con valor, ¡¡¡¡¡¡¡¡endavant 2008!!!!!!!!! este deseo el  Taller del Sol lo ha podido materializar en el Portal de Belen de Roda de Bará gracias al montaje del COLECTIVO CAP I CUA que de este modo celebra la despedida de año con la fuerza, el valor y  el coraje propio de los vikingos de La Pampa
1
Brindamos por todos vosotros porque habeis sido buenos, nobles y generosos.
1
Mucha buena gente hemos encontrado en el camino, como Ibirico en la provicia de Toledo, con el que hemos cerrado un trato para combatir a malandrines y maleantes con poemas visuales y mail art. De todos estos encuentros y de la multitud de noticias con las que venimos cargados, os daremos cuenta en fechas próximas, pero de momento queremos presentaros a un buen amigo que tiene mucho que ver con nosotros
1
Se trata de Antonio Pérez. La foto ha sido realizada en la Fundación Antonio Pérez, antiguo convento de Las Carmelitas y hoy dedicado al arte contemporáneo. Y lo interesante del caso es que dicho espacio está muy relacionado con el mail art, la poesia visual, el libro de artista, los objetos imposibles y los objetos encontrados. Esto quiere decir que en el futuro el Taller del Sol podrá realizar algún tipo de colaboración con esta Fundación, puesto que ya hemos establecido el primer contacto

Os dejamos con una reseña sobre Antonio Pérez y su Fundación


7 de diciembre de 2007


"A Antonio Pérez"
Escrito por Sixto Pozo
Artista para unos, coleccionista para todos. Antonio Pérez recoge en la fundación que lleva su nombre los tesoros acumulados durante toda una vida: obras pictóricas, literarias, escultura… Es un personaje singular que lleva toda su vida reuniendo la obra pictórica y gráfica de algunos de los artistas españoles de mayor prestigio, como Antonio Saura, Millares, Canogar, Feito o Luis Gordillo, y acumulando lo que él llama 'objetos encontrados'.

En cada esquina de cualquier lugar puede haber una obra de arte. Sólo tiene que haber alguien que la busque y ahí entra la figura de Antonio Pérez.

Como delegado provincial de Cultura podría destacar de su persona muchas cualidades, pero me quedo con la pasión con la que emprende todos sus proyectos y su sensibilidad hacia el arte y la literatura.

No querría calificar de temeridad el prescindir de dichas cualidades, pero es, cuanto menos, un lujo que una ciudad que aspira a ser Capital Europea de la Cultura no debería permitirse.

En la actualidad, Antonio Pérez es un gran embajador del arte contemporáneo en Cuenca y, a su vez, una persona con un alto grado de relación con los intelectuales y artistas de nuestro país, principalmente de la segunda mitad del siglo XX.

Coleccionista, editor y artista, Antonio Pérez decidió convertir a Cuenca en su casa en 1975, una morada que ahora no debería cerrar sus puertas a un inquilino de prestigio contrastado y que ha sido testigo directo del devenir de muchas tendencias que han ido construyendo el amplio espectro artístico de la segunda mitad de este siglo.

Aunque nació en Sigüenza, bien sabemos que se siente conquense porque fijó esta ciudad como destino de su colección, obra pictórica, dibujos y gráfica original, y también de su inmensa biblioteca cuajada de joyas literarias y documentos únicos.

En 1998 se unió al Museo de Arte Abstracto Español la Fundación Antonio Pérez en Cuenca, reclamo para el viajante, el artista y el soñador, y referentes a nivel nacional.


No me gustaría entrar a valorar las formas, puesto que ya las ha relatado el propio Antonio Pérez y asegura que no fueron las mejores, pero en este proyecto de ciudad que apuesta por la cultura debe haber cabida para todos y, sobre todo, para los mejores.

Me quedo con una frase que el propio artista ha manifestado y que es muy elocuente: "siempre he dejado claro que a mí la cultura no me gusta teñirla con cuestiones políticas". La Fundación Cultura Ciudad de Cuenca no le tendrá entre sus patronos y eso para muchos conquenses, entre los que me encuentro, es una decepción.

 
...y os remitimos a la galeria de imágenes del Boek861 y a los diferentes apartados de autoedición para tener información de todo lo que venimos comentando hasta aqui
httpp://boek861.com







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a arte de Almandrade - Brasil




From: almandrade2@hotmail.com
To: intrude366proposals@gmail.com; bonicamennett@gmail.com; performancelogia@gmail.com; citizenandneighbor@gmail.com; colectivochocolatero@gmail.com; lauren.bender@gmail.com; galataperform@gmail.com; fast_dada-ning@yahoo.es; davidbchirot@hotmail.com
Subject: Fw: a arte de Almandrade - Brasil
Date: Sun, 30 Dec 2007 14:37:20 -0200

 

 

The Art of Almandrade

 


Almandrade's works centre on the cooling down of the ecstatic gaze. Not the gaze fixed on what it was, but on what it is. He interprets the icy space of the city. Architect, theorist, poet and artist, Almandrade meditates on pleasure. His time is different, and so is his space. His work is not set on a single track, which undermines the notion of a monolithic creative impulse.
Using very few elements, he re-examines the process of creation, thus endowing his work with a self-reflective quality. His cold and disconnected images ponder on the diversity of being; being conceived as sensibility, and sensibility as an element of transgression. The ambiguity present in his work is perhaps more clearly seen in the desire for immobility. Fantasy, then, is produced through the perpetual annihilation of the will. The fragmented nature of ecstasy is what keeps perversion at bay. Almandrade and his objects drift untiringly, transmitting a vivid feeling of time not passing. And at that point, instead of pain we find reason.
Luiz Rosemberg Filho
 
El nombre Almandrade - en realidad el artista se llama Antonio Luiz M. Andrade - está asociado a una singular estrategia dentro de lo que se llama arte contemporáneo. El artista plástico, poeta y arquitecto ha producido una obra que se encamina hacia una estética minimalista, hacia una poética que se expresa utilizando un vocabulario mínimo, ya sea pictórico o linguístico. Almandrade es uno de los principales nombres de la poesía visual de Brasil de los años 70.
Según Nicolás Bernard, la ciudad de Bahía, en Brasil tiene sus supersticiones y sus sorpresas culturales, entre ellas Joao Gilberto y Glauber Rocha y por qué no, se pregunta, Almandrade. En definitiva, un artista que viene sorprendiendo desde hace treinta años con el rigor, la sutileza y la coherencia de trabajar con distintos soportes seguido por una tradición de un saber singular. 
 

 

1 - projeto de intervenção urbana - 1977
 
2 - poema visual -  1973
 
3 - cadeira com elástico  - 1976
 
4 - campo (instalação) - 1978
 
4 - desenho  - 1977
 
5 - 0bjeto - garrafa de cerveja e foto do artista - 1977
 
6 - objeto - madeira, tubo de pvc e esponja  - 1979
 

O  PARADIGMA   ALMANDRADE

 

A Bahia tem suas supertições  e suas surpresas culturais , indiscutíveis, como: Glauber Rocha e João Gilberto. E por que não um Almandrade com suas experiências visuais? Artista plástico, poeta e arquiteto, um clássico fora do eixo (Rio /São Paulo). O trabalho de Almandrade vem se impondo como um lugar à parte da chamada "arte contemporânea", sua relação intensa e cerebral com o fazer artístico, faz lembrar  Wittgenstein e a filosofia. Um  paradigma. Há cerca de trinta anos vem nos surpreendendo com o rigor, a sutileza e a coerência de lidar com diversos suportes, segundo a tradição de um saber singular.

 

Estamos diante de construções que são simplesmente arte, um oficio de quem domina um determinado conhecimento. Incompreensível para leituras apressadas. Talvez, o seu tempo ainda não tenha chegado, só  o depois de amanhã lhes pertence, Nietzsche não diria melhor. Entre um construtivismo meio paradoxal e um conceitual critico e mordaz sua arte se mantém fiel a uma poética.

 

(Nicolas Bernard)



Poética da leveza

O trabalho de Almandrade, tanto pictórico quanto lingüístico, vem se impondo, ao longo de todos esses anos, como um lugar de reflexão, solitário e à margem do cenário cultural baiano. Depois dos primeiros ensaios figurativos, no início da década de 70, conquistando uma Menção Honrosa no I Salão Estudantil, em 1972, sua pesquisa plástica se encaminha para o abstracionismo geométrico e para a arte conceitual. Como poeta, mantém contato com a poesia concreta e o poema/processo, produzindo uma série de poemas visuais. Com um estudo mais rigoroso do construtivismo e da Arte Conceitual, sua arte se desenvolve entre a geometria e o conceito. Desenhos em preto-e-branco, objetos e projetos de instalações, essencialmente cerebrais, calcados num procedimento primoroso de tratar questões práticas e conceituais, marcam a produção deste artista na segunda metade da década de 70.
Redescobre a cor no começo dos anos 80 e os trabalhos, quer sejam pinturas ou objetos e esculturas, ganham uma dimensão lúdica, sem perder a coerência e a capacidade de divertir com inteligência. Um poeta da arte e um artista da poesia. Um escultor que trabalha com a cor e com o espaço e um pintor que medita sobre a forma, o traço e a cor no plano da tela. A arte de Almandrade dialoga com certas referências da modernidades, reinventando novas leituras. Trabalha com o mínimo de elementos pictóricos, duas ou três cores, dois planos, duas ou três texturas, um traço, etc. e vemos uma pintura, um objeto e uma escultura. Algo criativo que menosprezamos ao primeiro olhar, mas logo que somos mergulhados no clima que eles nos impõe, descobrimos alguma coisa de novo. A simplicidade que predomina nas composições desperta a imaginação e o raciocínio.
Sua poesia também traduz esse princípio de uma poética do mínimo e da leveza. Poucas palavras, versos curtos e soltos, sintéticos, muitos sem títulos e sem floreios. Artista plástico, poeta e arquiteto, Almandrade (Antônio Luiz M. Andrade) é um pioneiro da contemporaneidade na Bahia, embora sem o reconhecimento que seu trabalho merece. Como disse certa vez o poeta Cleber Borges: "Almandrade é uma daquelas personagens aparentemente deslocadas no tempo, ou à parte, que parece caminhar para o lado, quando o relógio insiste em tocar para frente". Assim é sua poesia e sua arte.
Sua arte e sua poesia, aos poucos, vem sendo reconhecidas no Brasil e no exterior. Em 1997 participa da antologia International Poetry Review, com um poema traduzido pelo poeta americano Steven White. Hoje, a arte e a poesia de Almandrade representam o outro lado da Bahia e tem como palco a reflexão sobre a própria arte e sobre o estar no mundo. Destacam-se pela diferença e por uma trajetória singular. Como afirma o poeta Haroldo Cajazeira, Almandrade, sem se deixar devorar pela província, produz, com sua arte, "um saber sobre a impossibilidade de consistência de um
sistema de signos.

Dênisson de Oliveira



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FW: Notas sobre Arte




Date: Sun, 30 Dec 2007 14:32:52 -0200
From: virtualidades.news@ibest.com.br
To: intrude366proposals@gmail.com; bonicamennett@gmail.com; performancelogia@gmail.com; citizenandneighbor@gmail.com; colectivochocolatero@gmail.com; lauren.bender@gmail.com; galataperform@gmail.com; fast_dada-ning@yahoo.es; davidbchirot@hotmail.com
Subject: Fwd: Notas sobre Arte




Notas sobre Arte


Por Almandrade
[Artista Plástico, poeta y arquitecto brasileño]
 
El Arte es una forma de conocimiento que exige lecturas y reflexiones específicas.
 
Su apreciación no se limita a mirar a simple vista. Sin las informaciones necesarias pasan desapercibidas las búsquedas y la profundidad de su lenguaje. La apariencia satisface al mirar desatento.
 
"Sólo se ve aquello que se mira" (Merleau-Ponty). Lo que percibimos en una obra de arte es aquello que recogemos en nuestro modo de ver. El hombre es insertado en una sociedad, en un lenguaje, por donde aprende a ver, pensar y sentir. El lenguaje es el dispositivo a través del cual él se apropia de las cosas, de los seres, de las formas y de los colores.
 
Como arte puede ser cualquier cosa, en nombre del arte contemporáneo, somos muchas veces colocados delante de alguna cosa que dice ser arte. ¿Cuál es el criterio?
 
Para el artista no basta saber pintar, mucho menos apropiarse de imágenes u objetos, de forma aleatoria, es indispensable tener referencias y disponer de un método. Cada artista concibe su arte a partir de su propia teoría, aunque esta no esté formulada explicitamente.
 
Una obra encierra múltiples posibilidades de indagación. Recreamos las imágenes en nuestra percepción, y las modificamos subjetivamente de acuerdo con nuestra experiencia de vida. Proyectamos sobre ellas nuestros valores y nuestras inquietudes. Las obras de arte se completan de maneras diferentes en la imaginación de cada espectador. Es también objeto de decoración, acrecienta al espacio habitado la curiosidad de un abrigo poético.
 
Para hablar de arte es necesario aprender el método de observar su producción, es preciso ir del concepto a la obra y de la obra al concepto. Se comprende el arte a partir de la obra, un proceso ligado a la experienciay al pensamiento que acciona ciertas condiciones subjetivas del conocimiento. Se conoce al artista a través de su obra, y esta es una invención de la actividad del artista, (Heidegger).
 
Es un hacer político localizado. El arte tiene su propia materialidad. No es lugar de apoyo para otras políticas, así sean las llamadas culturales que ignoran cuestiones a cerca de los lenguajes y sus transformaciones. "En el transcurso de grandes períodos históricos, junto con el modo de existencias de las comunidades humanas, se modifica también su modo de sentir y percibir", (Walter Benjamin). El arte participa de esas mudanzas como tarea política de transformar la realidad dentro de un territorio determinado del saber.
 
El arte está sujeto a un sistema de poder extraño al hacer cultural. El arte deja de ser visto como un fenómeno cultural, para tornarse un hecho exclusivamente social y de mercado. El problema no es el mercado, él es necesario y tiene un papel importante en el circuito del arte, mas la importancia que viene asumiendo como agente principal del circuito que hasta facilita la producción, sin duda, pero hace que el valor de cambio deje a un lado la reflexión.
 
Estamos atravesando un momento donde es cada vez más difícil la producción cultural sin la interferencia de los media y de los intereses del mercado. Si la ética de esta sociedad es el consumo, todo pasa a ser determinado por la ley del mercado: la salud, la educación, la cultura, etc.
 
El intelectual y el crítico son descartables en una sociedad donde el mundo del pensamiento es poco tolerable; por otro lado, los patrocinadores, los empresarios del arte, los profesionales de marketing, los curadores... son los protagonistas del arte.
 
El artista que era un artesano descalificado hasta el siglo XIV, a partir del Renacimiento pasó a ocupar un lugar destacado en el territorio del conocimiento, y en este final de milenio es considerado el villano de la cultura.
 
Lo que viene ocurriendo con las artes plásticas y la cultura de una forma general, forma parte del espectáculo de una sociedad que ve en la acumulación de riquezas el objetivo de vida. Así, una institución cultural que disponga de pocos recursos, dejará a cargo de los patrocinadores la programación y la política cultural.
 
Almandrade
 
Traducción del portugués: Iris Pérez Ulloa

Almandrade se desempeña desde hace más de 30 años tanto en las artes plásticas, como en la arquitectura, el diseño y la poesía. Participa en varios salones internacionales entre los que destacan las XII, XIII e XVI Bienales de Sao Paulo, y la muestra especial de la XIX Bienal de Sao Paulo "En Busca de Esencia". En 1974 edita la revista "Semiótica", proyecto del Grupo de Estudios del Lenguaje de Bahía, del cual fue uno de sus creadores. Desde 1975 realiza más de veinte exposiciones en Salvador, Recife, Río de Janeiro, Brasilia y Sao Paulo, y escribe en varias publicaciones especializadas sobre arte y arquitectura. En los años 1981 y 1982 recibe premios del Museo de Arte Moderno de Bahía, en 1986 de Fundarte en el XXXIX Salón de Artes Plásticas de Pernambuco, y en el año 1997 es galardonado con el premio "Copene de Cultura e Arte". En marzo de 2002 su obra es incluida en la exposición "Brazilian Visual Poetry" organizado por el Mexic-Arte Museum de Texas, Estados Unidos, y entre julio y agosto de 2002 se realiza una retrospectiva de su obra en el Museo de Bellas Artes de Río de Janeiro, Brasil. Asimismo, ha editado los siguientes libros de poesía y trabajos visuales: "O Sacrifício do Sentido", "Obscuridades do Riso", "Poemas", "Suor Noturno" y "Arquitetura de Algodão".  
 
 
Notes about Art
Art is a form of knowledge that demands specific reading and contemplation.
Its understanding is not limited to the first glance. Without the necessary information, the research and examination of the language goes unnoticed. The appearance satisfies the untrained eye.
"We can only see that which can be seen" (Merleau-Ponty). What can be perceived in a work of art is that which fits our point of view. Man is inserted in a society, in a language, where he learns to see, think and feel. Language is the device through which he assimilates things, beings, shapes and colors.
Since art can be anything, in the name of contemporary methodology, we often encounter something which is said to be art. What criteria is used?
A work of art contains multiple possibilities of examination. It projects values and anxieties.
For an artist, knowing how to paint isn't enough, neither is acquiring random objects and images. Having references and a method is mandatory. Each artist conceives his art using his own theory, even though it might not be formulated explicitly.
A work of art contains multiple possibilities of examination. We recreate images from our perception, and subjectively modify them according to our life experiences. We project our values and anxieties on them. Works of art are completed in different ways in the imagination of each spectator. It is also used for decoration, adding the curiosity of a poetic shelter to an inhabited location.
In order to speak about art, one must learn the method of observing its production, from the concept to the work of art and form the work of art to the concept.
"Art is perceived as originating from the work, a process that is linked to experience and to thought which sets certain subjective conditions of knowledge into motion. One gets to know an artist through his work, and this work is an invention of the artist's activity." (Heidegger)
It is a local political act. Art has its own materiality. It is not used to support other politics, even those that are supposedly cultural, that ignore questions of language and its transformation. "Throughout the great historical periods, along with the ways of living of human communities, the way one feels and perceives things has changed" (Walter Benjamin). Art takes part in these changes as the political duty of transforming reality within a specific territory of knowledge.
Art is subject to a strange system of power when it comes to culture. No longer seen as a cultural phenomenon, becoming instead an exclusively social and market fact. The problem is not the market (it is necessary and plays an important role in the art circuit), but the importance it has taken upon itself as the main agent of the circuit. It has undoubtedly aided production, yet has caused the retail value to take reflection into a recession.
The intellectual and the critic are disposable where the world of thought is rarely tolerated.
We are facing a moment where the cultural production is more and more difficult without media interference and market interest. If this society's ethic is consumption, everything is governed by market law: health, education, culture, etc.
The intellectual and the critic are disposable in a society where the world of thought is rarely tolerated. On the other had, the sponsors, art entrepreneurs, marketing professionals, curators... are the protagonists of art.
The artist, who was considered to be an unqualified artisan until the 14th century, began to occupy a notable place in the knowledge territory since the Renaissance and, in this new millennium, is considered to be the cultural villain.
What has been happening with plastic arts and culture in general is part of a society's spectacle that sees retaining riches as life's objective. A cultural institution with few resources, left in the hands of sponsors, programming and the political culture.
ALMANDRADE
 
Almandrade (Antonio Luiz M. Andrade)
plastic Artist, architect, master in urban drawing and poet. It participated of some collective samples, between them: Biennial XII, XIII and XVI of São Paulo; "In Search of the Essence" - it shows special of XIX the Biennial one of São Paulo; IV National Hall; Universe of the Soccer (MAM/Rio); National Fair ( S.Paulo); II São Paulo Hall, I Ephemeral International Exposition of Sculpture (Fortaleza); I Bahian Hall; II National Hall; Honrosa mention in the I Estudantil Hall in 1972. It integrated collective of visual, multihalf poems e projects of installations in Brazil and exterior. One of the creators of the Group of Studies of Language of the Bahia that edited the magazine "Semiotics" in 1974. It carried through about twenty individual expositions in Salvador, Recife, Rio De Janeiro, Brasilia and São Paulo between 1975 and 1997; it wrote in some periodicals and magazines specialized on art, architecture and urbanism. Prizes in the competitions of projects for plastic works of art of the Museum of Modern Art of the Bahia, 1981/82. Fundarte prize in XXXIX the Hall of Plastic Arts of Pernambuco in 1986. It edited visual booklets of poetries and/or works: "the Sacrifice of the Direction", "Blacknesses of the Laugh", "Poems", "Nocturnal Sweat" and Architecture of Cotton ". Copene prize of culture and art, 1997.
 


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Almandrade: poeta e artista brasileiro




Date: Sun, 30 Dec 2007 14:31:56 -0200
From: virtualidades.news@ibest.com.br
To: intrude366proposals@gmail.com; bonicamennett@gmail.com; performancelogia@gmail.com; citizenandneighbor@gmail.com; colectivochocolatero@gmail.com; lauren.bender@gmail.com; galataperform@gmail.com; fast_dada-ning@yahoo.es; davidbchirot@hotmail.com
Subject: Fwd: Almandrade: poeta e artista brasileiro




Almandrade:

"El Poeta Vive en una Cantera de Obras".

Por Miguel Moreno D.

 

El nombre Almandrade - en realidad el artista se llama Antonio Luiz M. Andrade - está asociado a una singular estrategia dentro de lo que se llama arte contemporáneo. El artista plástico, poeta y arquitecto ha producido una obra que se encamina hacia una estética minimalista, hacia una poética que se expresa utilizando un vocabulario mínimo, ya sea pictórico o lingüístico.

 

Almandrade es uno de los principales nombres de la poesía visual de Brasil de los años 70.


Según Nicolás Bernard, la ciudad de Bahía, en Brasil,  tiene sus supersticiones y sus sorpresas culturales, entre ellas Joao Gilberto, Dorival Caymmi  y Glauber Rocha y por qué no, se pregunta, Almandrade. En definitiva, un artista que viene sorprendiendo desde hace treinta años con el rigor, la sutileza y la coherencia de trabajar con distintos soportes seguido por una tradición de un saber singular.

 

Ver em Português.

 

El poeta es el  cuidador de la memoria.   Usted ha dicho  que existe una forma de saber perdida o despreciada que el poeta se encarga de recuperar.  ¿Cómo ve la salud de la poesía en Brasil?

 

Parece que la poesía a vuelto a ser parte de la ciudad estos últimos años en Brasil. Tardes, recitales, debates, publicaciones, se van expandiendo y ocupando pequeños espacios en los centros urbanos, barras, cafés, bibliotecas. Páginas en Internet. Pero ¿una ilustración de la crisis de la lengua, del  pensamiento y de la ciudadanía?  A fin de cuentas, la poesía pasó a ser todo lo que alguien escribe movido  por una "inspiración", una rebelión, una pasión, un discurso libre y aleatorio, como: la frase de la mesa del bar, el billete de la novia, el discurso de protesta, etc. El poeta que ya se fue de la ciudad, vuelve al escenario urbano en la condición de síntoma de la gran ciudad. En un tiempo caracterizado por la desaparición de lo duradero, la rápida transmutación de los valores, sin tradición poética, la poesía vuelve como un lugar de experiencias contradictorias, para atender una necesidad de ocio y una diversión, incluida una voluntad de saber.

 

¿Cuál es su relación con la obra del grupo de trabajo compuesto por Haroldo de Campos, Décio Pignatari y Augusto de Campos?

 

Pertenezco a una generación que apareció en los años 70, al final de las vanguardias.  El contacto con la poesía concreta, el poema proceso fue fundamental para el desarrollo de mi trabajo no solamente poético sino también visual. Realicé innumerables poemas visuales. Me convertí en amigo de Décio Pignatari que escribió un texto sobre mis pinturas y mis objetos.



 

La poesía concreta es un movimiento fuerte y de gran impacto latinoamericano y mundial , ¿Existen hoy otras corrientes literarias en Brasil de la importancia de este movimiento? ¿Qué hay con las nuevas generaciones?

 

La poesía concreta es producto de un momento histórico de Brasil. Formó parte de nuestro primeras manifestaciones definitivamente modernas. No hay otro movimiento ni es más posible, como ya no es  posible una vanguardia.  Existen los poetas independientes de los movimientos.

 

¿Es más importante el significante (el signo de la palabra como tal) que el significado?  

 

En la poesía el significante no es más importante que el significado. Sucede que la poesía es un hacer sobre el lenguaje, una experiencia con este. En la poesía visual hay un enfoque de las artes gráficas y un alejamiento de la literatura, a mi entender, la forma (el significante) pasó a ser la esencia de la poesía.


 

¿Hasta qué punto el uso del lenguaje llevado al minimalismo, a la expresión de la forma o del signo, es un vehículo de comunicación eficaz   para la gente? ¿o es privilegio del grupo de intelectuales?

 

La función del arte no es ser un vehículo comunicación, aunque también funcione como tal. El arte es una forma de intervención, de provocación con el lenguaje. Para Cézanne, un cuadro no representa nada. Es eso que percibimos, su sentido no es aquello que se transforma en idea, en palabra; es lo que es antes de ser encuadrado en cualquier tema o teoría. Es algo que toca en determinado punto la sensibilidad del observador. Sólo se  tiene acceso al arte a partir de la propia obra, a través de un contacto directo con ella, un proceso vinculado a la experiencia y al pensamiento. Mirar una obra de arte es adquirir una sabiduría y un estilo de ver.

 

Según su opinión ¿Para qué sirve la poesía?

 

La poesía es una forma de relación del hombre con el mundo, diferente de la ciencia y de la filosofía. La poesía es un conocimiento alejado de la razón tecnócrata que regula a la sociedad contemporánea, hoy día, el hombre se enfrenta con otros tipos de lenguajes, otros conocimientos, que dejó de lado el hábito de la lectura, principalmente la lectura de poesías. Delante de la informática, de la música popular, del discurso político, no hay lugar para la poesía (lamentable).

 

¿Con que artistas chilenos siente usted algún nivel de cercanía por sus obras?

 

Conozco muy poco de los artistas chilenos. Estamos aislados aquí en América Latina. Tengo interés en conocer más sobre el arte chileno. He tomado más conocimiento por Internet.

 

Tiene tribuna abierta para decir lo que desee.

El poeta vive en una cantera de obras. La musa, el acaso, la razón, el sentimiento, los pensamientos abstractos son materias primas para su poesía. Él produce a partir de la lectura de textos ajenos, articulando ideas y cosiendo el lenguaje. La poesía es un trabajo que exige de quien hace una cantidad de reflexiones, de decisiones, de elecciones y combinaciones. Las lecturas y las experiencias modifican la escritura, las palabras no son completamente espontáneas, como en las pinturas de un Pollock , hay un trabajo y un cálculo de la escritura. El lenguaje  poético difiere del que utilizamos para la comunicación diaria. Cada poeta lo explora en la búsqueda de un acontecimiento inesperado, de una experiencia singular. La lengua cotidiana desaparece al ser vivida, es substituida por un sentido. La poesía no, se hace expresamente para renacer de sus cenizas y venir a ser indefinidamente lo que acabó de ser.

 

 

Algunos Poemas de Almandrade.

 

Escenario abstracto
De la nada y de las cosas
El cuadro es la geometría
Donde la realidad
troca de lugar,
Cambia de encuadramiento.
En el cálculo de los colores
La visibilidad
No niega
El orden de lo imaginario.

 

 

HM

 

 

 



El recorrido de los siglos

expela arrugas
en la geografía de la piel
y atrae el silencio
de las notas musicales
los que van a nacer
no van a experimentar
el futuro
van a rendirse
al presente.

 

 

SEIOS

 

 

 

La profesora sale de la clase
vuela en la imaginación
con las alas
coloridas
de una mariposa
un cuerpo en la transparencia
de lo erótico
un saber en el habla
una arquitectura femenina
como la lluvia
moja el antojo
pero el agua

              fría
escurre apresurada
       huye
por laberintos indecisos
para bien distante.

          

 

 

VOZ

 

 

 

              

Un nombre en blanco
revela más de cerca
el lugar,
vacía el drama,
adormece la palabra.
Recuerdo congelado
en la piel.
Ventanas entreabiertas,
pero la luz no entra.

 

 

Links a sitios con artículos sobre Almandrade y su obra.

 

www.expoart.com.br/almandrade

http://www.imperios.com/monse/escultor/almandrade/almandrade.

http://www.palavreiros.hpg.ig.com.br/criticaliteraria_entrevistacomalmandrade.htm

http://www.sobresites.com/poesia/poeta/almandrade.htm

http://www.livrariasoletrando.com.br/Arsclara/Artecontemporanea/artecont-p.htm

www.provadoartista.com.br/almandrade.html

 

 



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