4.7.10

SEVEN



3 comments:

Tim Ramick said...

Kristin—I enjoyed "SEVEN" with its various readings (mainly across, I understand, but I also like the occasional connections in the diagonal and the proximal).

Where can I go for more (are there similar works buried in the EVERYTHING SIMULTANEOUSLY archives)?

Thanks. —Tim

KRISTIN said...

tim -

i'm so sorry for the delayed response, somehow your comment did not pop up till just now.

oh tim your work is stunning. so wonderful to see success with form and the play of the page. i have just downloaded everything i possibly could from your site. "ballast" is a warrior. just wow. do you know Christian Bök's Crystallography?

thank you so much for the kind words.

i work mostly with graphic text, yet i rarely share online. there is this one, which is based on a medieval mass form and is also realized as a sound bit elsewhere:

http://everythingsimultaneously.blogspot.com/2008/08/hours.html

there is a piece in DIAGRAM here:

http://thediagram.com/9_6/hayter.html

several in progress, and i shall start posting more of the old as well. i feel inspired and encouraged after seeing your work.

thank you again.

- k

Tim Ramick said...

Kristin—I just now thought to check back at your blog after being piqued by yet another comment of yours at HTMLGiant.

I appreciate your kind words about my efforts. I do know and admire much of the intriguing visual work coming out of Canada (Derek Beaulieu is a fine—more austere—visual poet—and friends with Bok*, I think).

Also much thanks for sharing "HOURS" and "ECT" and "FOUCAULT/LAS MENINAS". I'm enjoying all of them, especially "HOURS" with its many layered delights (musical allusions/references, liturgical/erotic stew—I had some fun trying to play the words/phrases as chords on the piano—I'm drawn to dissonance). And I like the repetitions/iterations (e.g. Make Sweet/Make Rest/Make Haste—all of the O's around "TORSO" and "O GOD/O LORD"). The treatment of the Velasquez painting (culminating with "a fine/light, is opened" somewhere near the dog's tail—with or without Foucault's shimmer—the mirroring of "the mirror") makes me wonder if there is even more to explore in this area—transfiguring images into designed writing.

Do you know Steve McCaffery's "Carnival"? Undoubtedly so, but it's always worth another glance:

http://archives.chbooks.com/online_books/carnival/

Anyway, I look forward to seeing more of what you do. I'll keep stopping by.

—Tim

*I can't seem to get the umlat to stick—sorry