Search results for ""DABA""

The first collection of the Beat mentor’s long-influential permutation poems—one of the earliest examples of computer-generated literature Written between 1958 and 1982, Brion Gysin's "permutation poems" begin with short phrases or sentences whose constituent words are exhaustively rearranged over the course of the text. At first, Gysin wrote these poems manually, although later, in collaboration with programmer Ian Sommerville, he would write permutation poems with the assistance of a computer, making them a very early instance of computer-generated literature. Some of these works were published in books, while others exist only as audio recordings. Many derive from a 1960 BBC radio commission, “The Permutated Poems of Brion Gysin,” in which readings of the texts were recorded, cut up, modulated and overlapped. For the first time, this collection brings together all published and—where transcribable—unpublished versions of each poem, as well as "Cut-Ups Self-Explained," a short text by Gysin that contextualizes the work. The poems are organized in chronological order by first publication or first recording, with further versions of each poem grouped together in chronological order immediately after the initial version. This organization brings distinctions between versions into relief, allowing readers to explore the playful systematicity that undergirds this remarkable body of work. Brion Gysin (1916–86) was a multidisciplinary artist, author and poet. Born in Taplow, England, he studied painting at the Sorbonne in Paris and immigrated to New York in 1939. In the 1950s he lived in Tangier, where he first met William S. Burroughs. Gysin collaborated often; after returning to Paris, he developed the "cut-up method" with Burroughs, and with engineer Ian Sommerville he created the Dreamachine, a kinetic light sculpture. Gysin would become a mentor for generations of artists, musicians and writers, including David Bowie, John Giorno, Keith Haring, Brian Jones and Genesis Breyer P-Orridge, among others.

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Performance studies scholar Joshua Chambers-Letson and political philosopher Michael Hardt discuss the politics of love and the composition of social movements Published on the occasion of Adam Pendleton: Who Is Queen? at the Museum of Modern Art, New York, the book series Who Is Queen? adapts conversations between pairs of notable writers, theorists, philosophers and musicians into contrapuntal texts intertwined with archival photographs and additional writings. Joshua Chambers-Letson (born 1980) is professor of performance studies at Northwestern University, author of After the Party: A Manifesto for Queer of Color Life (2018) and A Race So Different: Law and Performance in Asian America (2013), and coeditor with Tavia Nyong’o of José Esteban Muñoz’s The Sense of Brown (2020). Michael Hardt (born 1960) teaches at Duke University, where he is codirector of the Social Movements Lab. Among the books he has coauthored with Antonio Negri are Empire (2000) and, most recently, Assembly (2017).

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An extensive, Swiss-bound catalog dedicated to Jonas' under-explored drawing practiceThe installation, performance and video works of American artist Joan Jonas (born 1936) are emblematic of the '70s'80s downtown New York avant-garde. Jonas privileged form over content, generating rigorous pieces with thematic concerns such as time, space and feminine subjectivity. Significant as these works are, other parts of Jonas' diverse and dynamic oeuvre deserve their due attention. This book is the first comprehensive catalog to elucidate an under-examined component of the artist's practice. Fascinated by the tension between motion and transcription, Jonas developed endless drawings composed of lines that weave around themselves or through a grid. She also began to draw natural thingsplants, animals, mineralsboth from her own environment and from fiction.Published in conjunction with the exhibition at the Drawing Center, this volume examines several decades of Jon

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An exacting facsimile of Umbra protagonist Norman H. Pritchard’s long-rare 1971 collection of visually kinetic poetry American poet Norman H. Pritchard’s second and final book, EECCHHOOEESS was originally published in 1971 by New York University Press. Pritchard’s writing is visually and typographically unconventional. His methodical arrangements of letters and words disrupt optical flows and lexical cohesion, modulating the speeds of reading and looking by splitting, spacing and splicing linguistic objects. His manipulation of text and codex resembles that of concrete poetry and conceptual writing, traditions from which literary history has mostly excluded him. Pritchard also worked with sound, and his dynamic readings—documented, among few other places, on the album New Jazz Poets (Folkways Records, 1967)—make themselves heard on the page. EECCHHOOEESS exemplifies Pritchard’s formal and conceptual sensibilities, and provides an entryway into the work of a poet whose scant writings have only recently achieved wider recognition. DABA’s publication of EECCHHOOEESS is unabridged and closely reproduces the design of the original 1971 volume. Norman H. Pritchard (1939–96) was affiliated with the Umbra group, a predecessor to the Black Arts Movement. He taught writing at the New School for Social Research and published two books: The Matrix: Poems 1960–1970 (Doubleday, 1970) and EECCHHOOEESS (New York University Press, 1971). His work was anthologized in publications including The New Black Poetry (1969), In a Time of Revolution: Poems from Our Third World (1969), Dices or Black Bones: Black Voices of the Seventies (1970), Ishmael Reed's 19 Necromancers from Now (1970), Text-Sound Texts (1980) and others.

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Poet Simone White and theologian Ruby Sales discuss faith in institutions and faith as an institution Published on the occasion of Adam Pendleton: Who Is Queen? at the Museum of Modern Art, New York, the book series Who Is Queen? adapts conversations between pairs of notable writers, theorists, philosophers and musicians into contrapuntal texts intertwined with archival photographs and additional writings. Ruby Sales (born 1948) is a social critic, educator, public theologian and the founder and director of the SpiritHouse Project. Her work appears in journals and books and is cited in films and documentaries. Simone White (born 1972) is a poet and critic. Her most recent work is the book-length poem or, on being the other woman (2020). Also the author of Dear Angel of Death (2018), Of Being Dispersed (2016) and House Envy of All the World (2010), she is Stephen M. Gorn Family Assistant Professor of English at the University of Pennsylvania.

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Osman's writing reinvents poetry as an instrument for dissecting vision, language and power This extensive collection of poet Jena Osman’s acclaimed work spans more than 30 years, gathering poems from journals and books long out of print. Her poetry traces overlooked visual and linguistic incidents across centuries of American history, transforming "official" language—from Supreme Court opinions to the chatter of Predator drone pilots—into writing that is comic, chilling and relentlessly inventive. Jena Osman’s (born 1963) books include Motion Studies (Ugly Duckling Presse, 2019), Public Figures (Wesleyan University Press, 2012), The Network (Fence Books, 2010, selected for the National Poetry Series in 2009), An Essay in Asterisks (Roof Books, 2004) and The Character (Beacon Press, winner of the 1998 Barnard New Women Poets Prize). She lives in Philadelphia.

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A long-unavailable classic of 1960s visual poetry that atomizes and recombines the building blocks of language A key figure—and one of the few women—in the Italian neo-avanguardia of the 1960s and 1970s, Giovanna Sandri (1923–2002) was renowned for the fearless experimentation of her visual poetry, which since 1965 has been featured in numerous Italian collections and journals. Originally published by Lerici Editore, Rome, in 1969, Sandri’s first book-length work is an experiment in new reading operations. Composed with dry-transfer lettering instead of a typewriter, Capitolo Zero dissolves poetry into single letters and punctuation marks—the atomic particles of language—rearranging them in new combinations that preclude conventional meaning. Reading the book is a game for the eyes. Sandri's poetry, rooted in the fractured language of Dada, straddles the line between literature and visual art. Long out of print, this reissue of Capitolo Zero embodies DABA's commitment to art, experimental writing and visual poetry.

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A climax in the Daba Kingdomthe clash of the powerful and the mad! As part of his scheme to save his sister who was kidnapped by Daba royal family, Sasae manipulates a battle for the throne from behind the scenes. The tangled plots of all the wicked men in the barbarian nation tighten into a knot as the showdown between Sasae and the Mad King of Daba begins!

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Sasae and his family ventured towards the barbarous nation of Daba on a mission to slay its mad king, but the tables turn when Daba warriors strike at the border-in a land where magic is deactivated, strength decides who dominates! Manako is carried off before the family's eyes... But will they be able to get here back without Sasae's mighty magic as a crutch...!?

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All the boat’s crew are afraid of Desalmau, the fearsome pirate. When they hear the knock, knock, knock of his wooden leg they run to hide. But, what would happen if one day someone changed the wooden leg for a rubber duck? Hilarious consequences await the once terrified crew in this beautifully illustrated book! Desalmau era el capitán pirata más temible de todos los mares del Norte, del Sur, del Este y del Oeste. Daba tanto miedo que no se afeitaba para no tener que mirarse en el espejo, porque se daría miedo a sí mismo. ¿Conseguirá su tripulación dejar de tenerle tanto miedo? ¿Tendrá que ver con el toc, toc, toc de su pata de palo al pasear por la cubierta del barco?

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Everybody tells Ladybug her drawing is not an elephant, but a giant ball of fluff. But… is it? A pleasantly colorful book, printed in stone paper, that invites readers to be imaginative and creative.In school, the forest children had fun discovering the names of distant jungles, jumping around in the schoolyard, learning new songs. Miss Dragonfly asked their students to draw an elephant as homework. Ladybug’s friends Snail, Firefly and other colleagues were the first to show their masterpiece. Ladybug surprised everyone by drawing a giant ball of fluff. There was no sign of the pachyderm! All the forest animals were worried: why would she have drawn something like that? Miss Dragonfly couldn’t believe it, so she warned Ladybug’s parents. It was not like her to do such thing… Who knows! Maybe she needed an ear exam… People in the forest started gossiping… But she could not be any healthier! Soon enough, Ladybug made it clear that perhaps they were wrong prejudging her creativity.Mariquita dibuja un elefante precioso, pero los demás solo ven una pelusa gigante. Un libro lleno de color, impreso en papel de piedra, que invita a los lectores a creer en el poder de la imaginación y a ser creativos.En la escuela, los niños del bosque se divierten descubriendo los nombres de selvas lejanas, saltando en el patio con sus compañeros, aprendiendo nuevas canciones. Doña Libélula, la maestra, pidió a sus alumnos que dibujaran un elefante como deberes. Los amigos de Mariquita, Caracol, Luciérnaga y otros de sus amigos fueron los primeros en enseñar su obra maestra delante de sus compañeros. Mariquita los sorprendió a todos cuando enseñó su dibujo: ¡una bola gigante de pelusa!¡No había ni rastro del paquidermo! Todos los animales del bosque estaban preocupados: ¿por qué habría dibujado algo así? Doña Libélula no daba crédito, así que llamó inmediatamente a los padres de Mariquita y los avisó. No era propio de ella hacer semejante cosa... ¡Quién sabe! Quizás necesitaba que un médico, podría tener algún problemilla de audición. La gente del bosque empezó a chismorrear, ¡pero Mariquita estaba más sana que un roble! Muy pronto, Mariquita dejó en claro que tal vez los demás estaban equivocados al criticar su creatividad.

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