Poetics/Poelitics of materiality in latin american digital poetry

Este artículo propone leer la poesía digital latinoamericana en vinculación con el acontecimiento poético-político que emerge cuando se considera su materialidad. Dar visibilidad a la materialidad habilita limitar la naturalización de los sentidos que vienen asociados a la cultura digital hegemónica contemporánea. Esto se logra desde procedimientos que ponen de relieve tanto los diversos niveles de materialidad inherentes a cada evento artístico literario digital —materialidad textual de superficie, materialidad relacional de las interfaces tanto de software como de hardware, materialidad del código— como los modos convencionales de ser con y hacer sentido de los entramados técnicos digitales que organizan nuestra vida cotidiana.This paper aims to read Latin American digital poetry in regards to the poetic-political event that emerges whenever its materiality is considered. To make materiality visible enables one to restrict the naturalization of meanings associate with contemporary hegemonic digital culture. This is accomplished through artistic procedures that emphasize, on the one hand, the multiple levels of materiality inherent to digital literary works— surface/textual materiality, software and hardware interface relational materiality, code materiality—and, on the other hand, the conventional ways to interact with and build meaning within the digital space that organize everyday life.Fil: Kozak, Claudia. Universidad de Buenos Aires. Facultad de Ciencias Sociales. Instituto de Investigaciones "Gino Germani". Estudios Culturales; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina. Universidad Nacional de Tres de Febrero; Argentin

Acute Calm Pink

forms, brushwor

Commentaires sur l’« Harmonielehre » de Schoenberg

Ma traduction est une partie de la publication parue dans la revue « Musik » 1910, et celle-ci est à son tour un extrait de « Harmonielehre » de Schoenberg qui paraîtra bientôt aux « Editions Universal » (Vienne). Schoenberg est l’un des créateurs les plus radical, les plus conséquent, les plus doué, et les plus honnête de la « nouvelle » musique. Je me permets de demander à tous les amoureux de l’art de ne pas s’effrayer du titre apparemment scientifique et spécialisé, et de lire ce court ex..

Comets

Kandinsky created Comets in 1938 for Verve Magazine. During this time Kandinsky had fled Germany after a Nazi smear campaign against the art school he was teaching at called Bauhaus. While in Paris Kandinsky began to feel increasingly isolated and underwent a noticeable shift in his art style. His work began to express more biomorphic shapes and elements and take on softer tones. During this time many of his works often convey a more peaceful, listless tone. Text and additional lithography verso. Created for Verve Magazine in 1938. Work included in \u27School of Paris\u27 exhibition, 2019.https://commons.und.edu/jsp-artwork/1188/thumbnail.jp

Orientalisches

The first edition for this print was created as part of Kandinsky\u27s sounds series. The second edition printing was supervised by Kandinsky and issued in Paris for the magazine XXe Siècle, Paris 1938. Kandinsky had kept the blocks for the print in his studio from 1911. 1200 prints created, many destroyed during the war.https://commons.und.edu/jsp-artwork/1169/thumbnail.jp

Improvisation No. 7

Wassily Kandinsky was among the major pioneers of abstraction in early twentieth-century art. The titles of his paintings and prints drew associations between the abstract qualities of visual art and music. Improvisation, for example, is a musical term, and the work is numbered, much like a composer would number a musical composition. Improvisation 7, which is from an illustrated book that contained 56 woodcuts, is signed in the lower right with the artist’s monogram. Included in \u27Art Across the Ages: A Selection of Treasured Works\u27https://commons.und.edu/lam-th/1008/thumbnail.jp

Improvisation 35

Painting entitled Improvisation 35