Accepting the Machine: A Response by Liliane Lijn to Three Questions from Arts

Celebrated techno-art pioneer Liliane Lijn—whose participation in the landmark 1970 London “Kinetics” exhibition at the newly opened Hayward Gallery was but a waypoint in a long and adventurous career, and whose work is represented in the collections of Bern’s Kunstmuseum, MoMA, and Tate—has prepared this essay on the evolution of machine art in response to three questions from G.W. Smith and Juliette Bessette of Arts

Accepting the Machine: A Response by Liliane Lijn to Three Questions from Arts

Celebrated techno-art pioneer Liliane Lijn—whose participation in the landmark 1970 London “Kinetics” exhibition at the newly opened Hayward Gallery was but a waypoint in a long and adventurous career, and whose work is represented in the collections of Bern’s Kunstmuseum, MoMA, and Tate—has prepared this essay on the evolution of machine art in response to three questions from G.W. Smith and Juliette Bessette of Arts

Liliane Lijn : Poem Machines

Wilson describes how Lijn's Poem Machines create a sense of cognitive flux by placing words and phrases on cylindrical forms which spin. He suggests these works embody the Beat Poets' cut-up principles, and also makes references to physics, astronomy and the perceptual sciences. Includes statement by Lijn and Van der Wateren. Biographical notes. 2 bibl. ref

Women in Concrete Poetry 1959–1979

"A massive, groundbreaking, international anthology of concrete poetry by women, from Mira Schendel to Susan Howe This expansive volume is the first collection of concrete poetry by women, with artists and poets from the US, Latin America, Europe and Japan, whose work departs from more programmatic approaches to the genre. Their word-image compositions are unified by an experimental impetus and a radical questioning of the transparency of the word and its traditional arrangement on the page." -- Publisher's website

The new concrete

An afternoon of film and live performance showcasing some of the most exciting work in the field of visual poetry in the 21st century. The event brings together some of the most celebrated poets and artists working at the intersection of visual art and literature. Building on the celebrated concrete movement of the 1950s and 1960s, the event reveals how this legacy has been refreshed through digital text and image manipulation, modern print techniques and the rise of self-publishing

The new concrete

The New Concrete is a long-overdue survey of the rise of concrete poetry in the digital age. The accessibility of digital text and image manipulation, modern print techniques and the rise of self-publishing have invigorated a movement that first emerged in an explosion of literary creativity during the 1950s and 1960s. This new volume is a highly illustrated overview of contemporary artists and poets working at the intersection of visual art and literature, producing some of the most engaging and challenging work in either medium. Featuring an introductory essay by renowned American poet Kenneth Goldsmith and edited by celebrated poets Victoria Bean and Chris McCabe, The New Concrete is an indispensable introduction to the breadth of concrete poetry being produced today. Edited by Victoria Bean and Chris McCabe, with an essay by Kenneth Goldsmit