No Press is proud to announce the publication of Braydon Beaulieu’s FLIGHT PATTERNS.
Produced in a limited edition of 60 hand-bound copies.
Through simple iconography, Flight Patterns maps Beaulieu’s reading patterns while reading Batwoman: Elegy — a visual poetry exploration of reading patterns and panel-ology wher action is suveyed by teh barest of lines and graphic gestures.
FLIGHT PATTERNS is now available for $4ea.
To order please email derek beaulieu
The Nabokov Paper – An experiment in novel-reading26th October 13 – 22nd November 13
Project by
Kate Briggs and Lucrezia Russo
Published by
information as material
With work by
Graham Allen, James Arnett, Abraham Asfaw, Anne Attali, Katarzyna Bazarnik, Derek Beaulieu, Paul Becker, Christian Bok, Shanna Bosley,
Stephen Bury, Chloe Briggs, Kate Briggs, Maurice Carlin, Jennifer Carr, Guillaume Constantin, Jamie Crewe, Veronique Devoldere,
Lucia della Paolera, Craig Dworkin, Zenon Fajfer, Celine Guyot, John Hamilton, Sharon Kivland, Gianni Lavacchini, Anna-Louise Milne,
Forbes Morlock, Simon Morris, Amy Pettifer, Lucrezia Russo, Olivia Sautreuil, Nick Thurston, Jane Topping, Madeleine Walton, Patrick Wildgust,
Robert Williams and Jack Aylward-Williams, Sarah Wood, Gillian Wylde.
Opening and book launch
Saturday, October 26, 2013 / 3pm
For more details contact – thenabokovpaper@gmail.com
Pearl Pirie’s review of How to Write has just been syndicated on The Canadian Women in the Literary Arts (CWiLA) Blog.
How To Write has immediate power as a kind of one-off joke, a reveal that hits the reader immediately upon engaging with the text; the surface of the book is so clever and punchy that it’s easy to take that for all that it is. But instead of leaving it there, Pirie digs as deeply as she is able, and comes up with great richness as a result. It’s an excellent celebration of the possibilities of literary criticism in long form.
UbuWeb’s Visual Poetry section has just been updated with over 80 new texts including exceedingly rare editions of d.a.levy’s magazines The Buddhist Thirdclass Junkmail Oracle and The Marrahwanna Quarterly and Ed Sander’s Fuck You: A Magazine of the Arts. Complementing these magazines are PDFs of scarce editions by Canadian visual poets David UU, John Riddell and bpNichol; Americans Johanna Drucker and Rosmarie Waldrop and International practicioners such as Max Ernst, Marcel Broodthaers and Bob Cobbing. This update focuses on small press magazines and highlights rarely-seen radical work in collage, overprinting and machine-based visual poetry.
UbuWeb began as an online repository for concrete and visual poetry scanned from aging anthologies and re-imagined as back-lit transmissions from a potential future. As the archive has progressed, the concentration on visual poetry has waned in favour of an reconnoitering of diverse avant-gardes. UbuWeb’s Visual Poetry section exposes little-seen exemplars of historical praxis and models of contemporary insight to a wider audience. This section includes anthologies, ephemeral publications, criticism and sporadic journals dedicated to visual poetry. Due to the elusive and ephemeral nature of concrete and visual poetry publications, there is a perceived lack of innovation in the genre. Without exposure to radical practice, artistic precedent and innovative models, concrete poets too often fall back upon familiar tropes and unchallenging forms. UbuWeb’s Visual Poetry section is not presented under the rubric of historical coverage or indexical completeness, but rather as a document of isolate moments of what Haroldo de Campos argued was a “notion of literature not as craftsmanship but […] as an industrial prcoess” where the poem is a “prototype” rather than the “typical handiwork of artistic artistry.” — derek beaulieu
Counterpath is seeking performance, film, sound, writing, and
visual work that directly responds to or reads Writing Surfaces: The
Selected Fiction of John Riddell (2012, Wilfrid Laurier University
Press).
John Riddell’s work embraces game play, unreadability and
illegibility, procedural work, non-representational narrative,
photocopy degeneration, collage, handwritten texts, and gestural
work. His self-aware and meta-textual short fiction challenges the
limits of machine-based composition and his reception as a
media-based poet.
Riddell is best known for “H” and “Pope Leo, El ELoPE,” a pair of
graphic fictions written in collaboration with, or dedicated to,
bpNichol, but his work moves well beyond comic strips into a
series of radical fictions. In Writing Surfaces, derek beaulieu and
Lori Emerson present “Pope Leo, El ELoPE” and many other works
in a collection that showcases Riddell’s remarkable mix of largely
typewriter-based concrete poetry mixed with fiction and drawings.
Riddell’s oeuvre fell out of popular attention, but it has recently
garnered interest among poets and critics engaged in media studies
(especially studies of the typewriter) and experimental writing. As
media studies increasingly turns to “media archaeology” and the
reading and study of antiquated, analogue-based modes of
composition (typified by the photocopier and the fax machine as
well as the typewriter), Riddell is a perfect candidate for renewed
appreciation and study by new generations of readers, authors, and
scholars.
Counterpath will host an evening of approximately 5 performances of 10-15 minutes each on
December 14, 2013, at 7 p.m.
Please send a proposal of not more than 250 words to Counterpath
program coordinator Oren Silverman (os@counterpathpress.org) by October 31, 2013.
The University of Calgary’s Gauntlet newspaper has interviewed me on “Advice for aspiring poets” in which i plead that emerging poets should “Make it fucked up, make it strange, make it digital, make it infected…”
Cecile Bjørgås Jordheim has a new performance of her “First of All There is Blue” which was inspired by my novel Local Colour: Ghosts, variations:
Konsert–performance
Torsdag 19. september kl. 21.00
Kunstnernes Hus, Foajé
Gratis inngang
Cecile Bjørgås Jordheim, Stine Janvin Motland (vokal) og Jo Fougner Skaansar (kontrabass)
The project is based on the first paragraph in Paul Auster’s novella Ghosts. The composition consists of 3 short movements. The first movement is the original text straight from the book, the two following movements are versions of the paragraph that has been trough Google Translate so many times that the text is altered into strange sentences and meanings. The composition was done by isolating the letters C, D, E, F, G, A, B in the text and using them in a notational system to indicate pitch. The absence of the characters in between the chosen letters indicate the durations/note values.
More information, and a recording of a previous iteration of the performance, can be found here.
The project was initiated by Canadian poet Derek Beaulieu and In Edit Mode Press in Malmö, Sweden and is entitled Local Colour: Ghosts, variations. The collection takes as its point of departure Paul Auster’s novella Ghosts, and Beaulieu’s reworking of Auster’s text, Local Colour. It invites a number of writers, poets, musicians and artists to contribute with further reworkings, intermedial translations and editing projects exploring various intersections between Auster’s text and Beaulieu’s graphic interpretation. The resulting volume consists of four bound volumes, a series of pamphlets and prints, an audio-CD and a piece of computer software.
The best thing about any poetry reading is the beer — and now you can have both in one handy combination.
The fine folks at Broken Dimanche press have revamped their website and have a few copies remaining of “The Kakofonie 005” by Eric Zboya and myself in an edition of 60 copies.
There were a very limited number of bottles which were filled with small-brew craft beer brewed by Olivier Maarschalk.
Now there are only bottles without beer available for €10. For more information, or to order, go here.
LOCAL COLOUR; GHOSTS, VARIATIONS
Ola Ståhl, Carl Lindh & Derek Beaulieu
Malmö: Publication Studio Malmö / In Edit Mode Press, 2012
ISBN: 978-91-977853-4-1
Set including a series of perfect bound, paperback volumes, a book of photographs, a CD and a piece of software. First edition: 200 copies.
Release date: Dec 20, 2012
Retail price: €58
“Local Colour; ghosts, variations” takes as its point of departure, Paul Auster’s novella “Ghosts,” and, in particular, Derek Beaulieu’s reworking of Auster’s text, “Local Colour,” in which the entirety of Auster’s text has been removed, leaving only the chromatic words spread across the otherwise blank pages as coloured rectangles. “Local Colour; Ghosts, variations” picks up on the way in which Beaulieu’s piece seems to split Auster’s narrative text open by rendering it purely graphical, freeing it up, by the same gesture, to an excess and a bifurcation of meaning. Seeking to extend and amplify this ambition, the collection invites other writers, poets, musicians, and artists to implement procedures and process that allow them to do Beaulieu what Beaulieu did to Auster; that is, to split his colour rectangles open and see can be done with what is revealed. Contributors include Derek Beaulieu, Steve Giasson, Cia Rinne, Peder Alexis Olsson, Jörgen Gassilewski, Craig Dworkin, Elisabeth Tonnard, Martin Glaz Serup, Eric Zboya, Ola Ståhl, Pär Thörn, Carl Lindh, Cecilie Bjørgås Jordheim, Ola Lindefelt, Andreas Kurtsson, Helen White, Gary Barwin, Magda Tyzlik-Carver and Andy Prior.
Ola Ståhl
Malmö: Publication Studio Malmö / In Edit Mode Press, 2013
No ISBN
First edition: 200 copies
Release date: Dec 2, 2012
Retail price: €7
Double-sided poster by Ola Ståhl presenting all the colours rectangles in Derek Beaulieu’s graphical reworking of Paul Auster’s novella “Ghosts” in the order in which they appear but printed as long, slim strips on glossy paper. On one side of the poster, the nuances are those that appear in Beaulieu’s manuscript. For the opposite side of the poster, however, a cipher, the key to which was found in an hollowed out coin in Brooklyn in the 1950s, was used to create an alternate set of numeric sequences from the CMYK numbers of the colours used in Beaulieu’s piece. From these numeric sequences a different set of CMYK numbers, and thus a different set of colours, was generated. Treated the same way as the original colour series, these are the colours presented on the other side of the poster.
Carl Lindh & Ola Ståhl
Malmö: Publication Studio Malmö / In Edit Mode Press, 2013
No ISBN
Music box and scroll. Limited and numbered edition of 10 copies.
Release date: Dec 2, 2012
Retail price: €115
Replicating Derek Beaulieu’s “Local Colour” – a graphical reworking of Paul Auster’s novella “Ghosts” – as a scroll and cutting out each coloured rectangle, leaving only a series of tiny perforations, Ola Ståhl & Carl Lindh’s “Apparition” extends the translation process initiated in Beaulieu’s rendering graphical of Auster’s text, only here the graphical manuscript is translated into a sequence of absences – holes, punctures – reemerging spectrally as sound as the scroll is fed through the music box. Each numbered copy is fully functional and contains both music box and scroll.
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