let thermal expression be syntactical. The natural is what

Two committal - bore, and

"held there"





storage


There was him, as if in front - not unlike sensed
them






small spots, more blotchy (that is like spiky-edged)
across the way
assigned - overlaying them



small triangular - like motions,

of one (them?) stepping forth / from out
or underneath it.




Covering placing - there is - range.

while staying reticent, unspoken

This is all,



as occurring, alongside the expansion of:





figures in brief

to pupate periphrasis



relationally slept on




intended, generative


a drift stooped
birth heard aging

torn pages, rewritten face, (a face is interesting).

The brave and the bold...

Occurences, which deeply affected me over the past three days - there were a series of things, I will not address them directly as events or as they occurred.

1. Pathologising non-normative writing and ways of seeing language. So, taking your writing somewhere else is what you do.

2. Organising "things" in the world depends upon external systems, good organisation depends upon using those systems and their "making" sense to us - what follows: "information" is that which makes sense to us, as if non-sensical (that is everything deviating from sense) is not information-meaning. (As if, making value judgments was all that ever mattered). Perhaps information and meaning are not the same thing, there is something here. What's more alarming: the interrogation of that which makes sense to us, these systems - cannot occur (?). There was also the assumption that language always accurately communicates what it means to say. Because language is always meaning/saying something - and not including nonsense words because they are not language (?). That is outside, and not the same action.

How it is, raining...

... a lot in Auckland.

My window, perpetually, looks like this.


Am (re)reading these wonderful books ...

Keeping happy with these lovely bits ...

I found the charming Dancing Girl Press. It is so wonderful, focused on independently publishing chapbooks by emerging female writers - this girl, Kristy Bowen, certainly keeps herself busy! Not only handling this project, she edits an online journal, Wicked Alice and makes her own paper arts and beautiful jewellery, and collects vintage objects and other delightful items - making her etsy shop a storehouse of enviable, delicious treats. (Kristy keeps a lovely blog here too).

Spelling ( ) Bound (Ellectrique Press 2008) is a poetic collaboration between Cara Benson, Kai Fierle-Hedrick, and Kathrin Schaeppi and looks like a wonderful project - I certainly hope to get a copy.

The projects exhibited in the New Media section in the latest issue of How2 equally much - I thought that Rosheen Brennan's Motion was particularly beautiful.

Reading a manuscript too. Not mine. An energetic surge, sustained. Practically inhaled it.


Making things: some new packettes for chapbooks -



Large handmade envelopes, hand stitched together to create a visible seam and using the same illustration as the last packette experiment.

I have been working on a few different collages/visual poems (that genre)...

Here's one I have completed (though have not titled yet).

- E xx

naming my press; Winterling

I came across the word ‘Winterling’ in Literature Nation by Maria Damon and Meikal And.


How to recognise: a/the/such as, "winterling".


Suffixing winter with-ling, makes the "winter": pejorative, diminutive, small or refers to a person described in the/as "winter".


I am moving beyond botanical drawings, seasons, or a creature.



Winterling: is not like when something breaks, but more, it is, as distance (smallness, diminuation) - but always locatable. "Affect", and when, there is sound. It is something material, like object. Registering. It also comes before there is sound, much like splintering something, broken in fragments and simply left - sounds - like words. With sound and as though, with or not, -ling, a long trembling and feeling like "facing down" or "looking away". But looking toward the splintering, but occurring not before it.

Making Public: Internet Art On The Internet

Shamelessly conjuring up a hackneyed, tedious debate - "public art should be decided by the people", and "all public is shit" (I know, boredom) - but this article got me thinking... the web is also a public space... isn't it? Is the internet public or private? Obviously everything that is posted on the web is publicised in one way or another - it is no longer immediately private to the singular individual discloses - others may access it.

Our whole notions of what constitutes public and private are ruptured, as Andrea Slane (2007) writes,

"Many of the foundational socio-spatial practices of liberal democracy are challenged by cyberspace (private property, national boundaries, authority over the individual body), and these challenges have manifested themselves in legal battles over online trading in intellectual property; in the sanctity of homes intruded upon by spam, viruses, and unsavoury images; in jurisdictional controversies across national borders; and in the upsurge of legislative activity regarding online privacy (p. 85)".

Relating it to art, it makes me think that no art is not "public" art - every artwork has an audience, even if it is the creator alone is the audience... Perhaps labelling internet art as either public or not public is defunct when considering the capabilities intrinsic to the web as a communicative tool and medium for expression, or when imagining that which is "private" or "not public" in any externalised expression - which is in fact seems impossible. Even though the internet is a public space - perhaps internet art is not "public", considering our normative usage of the word preceeding another word, that being "art" - rather than positing all art/externalised expression as making public.



~ Works Cited ~

Slane, Andrea. "Democracy, Social Space and the Internet". University of Toronto Law Journal. 57(1), 2007, 81-105.