The Daily Glance (The Kollectiv Series)
Tilla Brading and Frances Presley's piece for the Dusie Kollectiv is essentially a short one page form that can be read as many poems or a single one. The page is divided by lines into squares (24 of them), and each square contains at least one word (only one has two words) or number. There is no clue as to whether or not we should read the page up, down, diagonally, top to bottom, etc. . ., and there's no indication as to whether or not all the words should be used. Basically, the reader is left with all the decisions about how to interpret this piece. The only guides are the words, but stripped of their syntax, they require us to do much more work that we might ordinarily do. The words themselves, things like "Bolivian," "porous," "tidy!", bring up questions of word choice by poets. Are certain words more poetic? Are certain combinations poetic? How much of the poetic is learned? (These questions I think are incidental to this work, but interesting deviations.)
Tilla Brading and Frances Presley's piece for the Dusie Kollectiv is essentially a short one page form that can be read as many poems or a single one. The page is divided by lines into squares (24 of them), and each square contains at least one word (only one has two words) or number. There is no clue as to whether or not we should read the page up, down, diagonally, top to bottom, etc. . ., and there's no indication as to whether or not all the words should be used. Basically, the reader is left with all the decisions about how to interpret this piece. The only guides are the words, but stripped of their syntax, they require us to do much more work that we might ordinarily do. The words themselves, things like "Bolivian," "porous," "tidy!", bring up questions of word choice by poets. Are certain words more poetic? Are certain combinations poetic? How much of the poetic is learned? (These questions I think are incidental to this work, but interesting deviations.)
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