WELCOME TO THE 1st ISSUE OF THIS MAGAZINE.
Issue No.1 contains (in this order)
Author Links, &
Issue No.2's CALL FOR WORK
EXCERPTED FROM THE ON SITE DESCRIPTION:
IMPORTANT: This magazine is for documenting poetic work in the public sphere or work given away/left in public. I do not wish to see page-based work for the most part - exceptions are possible - but not that easy to imagine
* VISUAL POETRY for me has to connect to text, readability is not necessary, but language is required (no matter how degraded).
* ARTFULNESS I appreciate careful technique, a painterly eye, work that doesn't sacrifice some kind of discipline, but, I also thrive on accidents.
* THE HAND IN THE WORK. So much work is computer-based now that I find myself liking the handmade or hand-assisted works, they're consistently more real for me.
* B/W-ish i tend in the direction of black and white and appreciate those who can use just enough color or who let the colors of the materials carry the weight. Monochromes. Sepia. A starkness that has impact.
This is a very welcome & exciting & refreshingly unusual Visual Poetry Journal, as it is interested in work made by hand and also work AS IT EXISTS IN THE WORLD.
One of the paradoxes of the Internet is that is an excellent means by which to "bring to light" works which point one back to the WORLD, that Time & War Torn & Worn site/sight/cite which all too often vanishes in Word, Page & Screen.
The disintegrating order of things, "the world as we see it is passing," calls out for not simply "being in touch," but actual touch, the real meaning of Haptic.
Works exist in the public sphere in disintegrations from the conformities of "signage," and the forms of tourism & consumerism it engenders. Yet, rather than seeing and working with the teeming dilapidation of languages which are actively generating emerging colors, lines, sounds, the eyes trained by signages remain within their "sphere of influence."
Aestheticized, these "signages" become "seen as art," because they are "already framed as art" and so one "discovers" one's immediate environment as having the same "art" qualities as "photos in magazines," ads themsemselves modeled on "art" in "art photos" and paintings. Making the circuit of one's neighborhood, one makes a circuit of "art images," happily noticing how much like other "art" which one has seen they indeed are.
To discover one lives in a a magazine/gallery world makes one feel one is indeed leading an aethetic existence.
Who knows, perhaps instead of being an "artist," one is actaully becoming an "art object" one's self, and so is begining to accrue value by the moment. Does it not seem at times that one is indeed moving along among various monuments, statues, plaques which have come to occupy the place of good old so-and-so?
Meanwhile, the dirty old world which is falling apart all around one, and in that falling apart is emerging each instant as a part of something other than it just was--that dirty ceaselessly teeming old world is going unseen, even though its particles begin to dirty the surfaces of the monuments and statues.
To me, what makes Repugno so exciting and challenging to go ever farther into these particles that are a part of and not apart from one's existence, continually touching one with a call to touch back and with it in response, in collaboartion--
is that it is aware of and interested in the continually generative emergence of distintegrations, the disintegrations into emergences, of negentropy and working with negentropy in collaboration.
To me, a very happy event! And my deep Thanks!--db Chirot
"La Mano de l'Ojo, l'Ojo de la Mano"