Oh hey, I’m 14 weeks pumpkin belly.
Old foggy-youthed photos have surfaced today, out from the places photos live when you’re not looking at them.
It’s confusing with the nostalgia and the glad-it’s-gone all tangled up together.
Get me out of here. Midwest can cure. One week til dunes.
663. Ramos, José Antonio.—Mi «yes»… En «Jazz».—15 de mayo de 1927, vol. 1, n.º 5, p. 103.
Apologia del movimiento vanguardista.
Instead of writing, I would like to go mushroom hunting, ramp hunting. Or to leave and go straight for porches-in-dunes. Forward-looking nostalgia is the best killer of work-willing. Soon.
Porches Past Supercut.
(Source: fuckyeahmurdershewrote)
If I were a carpenter
Notes I Have Taken
because Neruda’s poetry comes from a darkness of the soul
(so emo)
Cidade City Cité. Augusto de Campos.
Looking at Language
In the late 1950s, the Noigandres group in São Paulo, Brazil called for a new kind of poetry, one that would bring “language closer to things.” This so-called “concrete poetry,” favored the material, visual, and spatial over the discursive aspects of words, and challenged its audience to find new ways of looking at language. In the years that followed, poets and visual artists from throughout the Americas would take up this challenge, creating works that blurred the line between the poetic and the plastic arts. This seminar will explore the role of language in the visual arts and the role of the visual in the poetic arts, with a special focus on 20th century North and South America. Works by artists and poets—including Haroldo de Campos, Ferreira Gullar, Lygia Pape, Luis Camnitzer, Juan Luis Martinez, Jackson Mac Low, Ronald Johnson, Cy Twombly, and Charles Olson—will be considered alongside broader, theoretical inquiries into the materiality of language. Among other emphases, writing assignments will ask students to consider the challenges of writing about visual material and encourage the building of clear, well-supported arguments.
