Thank you for this last minute of the year comment. It was really a
good way to end the discussion (and the yasmin year) that, somehow,
had finished with a not very pleasant sense of bitter debate. Thank
you again, also for E=MC3 from 68, I?m certain that João Magueijo did
I wish you all a better 2011.
Citando Liliane Lijn <firstname.lastname@example.org>:
> Hi Yasminers
> I have been reading your letters and also read Bronac's comment re
> my 1968 E=MC2 Poemcone. I thought I should add my own comment, if it
> isn't too late.
> I began making Poem Machines
> (http://www.lilianelijn.com/archive/pom01.html) in 1962 while living
> in Paris. I had met the Greek magnetic sculptor Takis there and
> through him I met Sinclair Beiles, Gregory Corso, William Burroughs
> and my close friend and collaborator, Nazli Nour. I saw myself as an
> anti-poet, a young artist bored with conventional poetry. I wanted
> to split the word in the same way scientists had split the atom. I
> frequented the Science Museum (Musee de la Decouverte) having
> decided that the displays there were as interesting if not more than
> those at the Musee d'Art Contemporain, and was inspired by what may
> have been an early interferometer to make my first machine, which I
> called Vibrograph. It consisted of 2 revolving metal cylinders, on
> which I had painted 5 columns of parallel lines of slightly varying
> thickness. The 2 outer columns and the middle column were
> perpendicular to the ends of the cylinder, whereas in the remaining
> 2 columns the lines were t!
> ilted all at the same angle and thus parallel to each other. When
> these two cylinders revolved, one saw a strange vibration and the
> black lines appeared coloured. On observing this, I reflected that
> letters were also made up of lines with the added capacity of
> becoming words. Minutes to Go had just been published. Cutting up
> text seemed to liberate both words and ideas through incongruous
> meetings. I realised that if I placed text, any text at all, on my
> metal cylinders and made them spin at different speeds, the
> carefully constructed sentences would be fractured and fragmented,
> words would be seen in unplanned contexts or perhaps not at all,
> become blurred vibrations, a new kind of poetic energy. I would be
> creating a continual kinetic cut-up. Nazli Nour was imediately
> seduced by the idea and offered her writings. ' Make my poems move'.
> It wasn't possible to use them in entirety since one poem might be
> 20 pages in length but Nazli gave me complete freedom to edit them
> as I!
> wished so that they worked on the Poem Machines. Quite a few !
> other po
> ets asked me to use their poems but were reluctant for me to alter
> them. This wasn't possible because the media one uses always brings
> change. You cannot expect to put the same constructed sentences on a
> spinning drum that you might on a piece of paper. Leonard D.
> Marshall was another poet whose text I worked with. His poems were
> extremely short and often just right for my machines as in Sky Never
> Stops now in the collection of th National Art Library and the
> Victoria & Albert Museum.
> http://www.lilianelijn.com/archive/sky01.html Sometimes I would use
> my own texts as in Atomaction and Protons are Positive or the more
> recent http://www.lilianelijn.com/recent-poemcones.html.
> I switched from using cylinders to using cones as the revolving
> forms because on a cone, the apparent speed of the words wrapped
> around them changed at different levels as the diameter of the cone
> increased or decreased. Another very interesting observation was the
> different way in which these kinetic poems were read or perceived by
> the naked eye or by the lens of a 16 mm camera or a video camera for
> that matter. This can be seen in my film What is the Sound of One
> Hand Clapping? but to see the difference, you would have to see a
> Poemcone in real time through your own eyes.
> In the last two years, I have made Poemdrums in which readable text
> becomes light through changes in speed of the drums onto which the
> text is inscribed. Most recently, I have been experimenting with
> laser cutting letters onto nested drums revolving in opposite
> directions at different speeds. I am interested in how the eye/brain
> adapts to the challenge of making sense of the floating word
> fragments and eventually actually reading the ungraspable text.
> By the way, the anecdote that Bronac mentioned re my meeting with
> Joao Maquiego was quite amusing. I had seen him on tv speaking with
> a colleague about their research into the early universe and heard
> him say that they thought one way of explaining certain unexplained
> features was to alter the constant C = the speed of light. I thought
> that was very exciting and sent him an email. He replied saying he
> had looked at my site and liked my work. Could he visit my studio?
> Naturally. The first piece he noticed as he entered my office was
> E=MC3 and he said: 'I see you realte to our ideas.' I replied, ' Yes
> but I made that in 1968.'
> Wishing you all a very adventurous and positively luminous 2011!
> Liliane Lijn
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