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“Get in on the Fun” and one other poem published in X-Peri

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A fun and exciting blog for experimental writing of all kinds, X-Peri rolls out new work every week. This week it is my turn, with one video still and two texts: “Get in on the Fun” and “Special Times.” The editors have titled this assortment “Two Facebook AI Units Before They Were Unplugged”–because that was my inspiration for this series of text work. These pieces attempt to create a new, ritualized vocabulary out of common words and phrases, representing a kind of transaction or negotiation. You can read the pieces here.

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“Sparkle Plenty” and 10 vispo published in Otoliths #57

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Another massive installment of Otoliths, something of a journal of record for the international avant garde lit scene, was just released yesterday. This is Issue 57, for Southern Autumn 2020 (as it’s edited in Australia). Tons of new visual poetry, text work, poetry, poetics, etc (all the unclassifiable stuff) for passing the quarantined time and sharing with your socially isolated friends.

vispo otoliths spring 2020

I’m very pleased to be part of this issue “Sparkle Plenty,” a long poem based on a restricted vocabulary drawn from American magical thinking in a form that could be some programming sent from one Artificial Intelligence to another. Only 2 of 12 stanzas are represented below. Also, ten pieces of visual poetry with asemic calligraphy, part of a much larger set of work that may comprise the log book of a human colony on an extraterrestrial world. You can check it out here.

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“Making America Great Again” and five visual poems published in Otoliths

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Great news! Issue 56 of Otoliths was just released. Sad news: it is dedicated to the memory of Reuben Woolley, a fine poet and editor in the vast international avant garde, who published my work in his journal Curly Mind. He will be missed as a poet and peace activist, both of which are much needed today.

Otoliths 56 is chock full of the usual suspects, representing the full range of textual and visual poetics options today, always cutting edge and great fun. Never a dull moment and an essential read. I’m very pleased to be represented among such fine company with a text poem from the robotspeak series, “Making America Great Again,” which applies the linguistic logic of the Facebook AI units to the branding catchphrase of the current US delinquent-in-chief. Plus 5 visual poems with asemic writing from a recent series of tape sampling pieces that seem to represent a scientific journal from a human colony on an extraterrestrial world. You can check it out here.

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Two text pieces and five visual poems published in Avant Appal(achia)

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An online journal for experimental arts, Avant Appal(achia) just released Is(sue) #8 yesterday. It includes a video, poems, visual poetry, art and stories. I’m pleased to be included with two short text pieces from my series inspired by AI language invention, “Let’s Do This” and “Das Processor,” and five visual poems with asemic elements. You can check it all out on this page–until the next issue when everything will be replaced and a few pieces will be archived: https://www.avantappalachia.com/

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“Best Offer” and “Quick Cash Secret” published in Avant Appal(achia)

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An online journal for experimental writing, Avant Appal(achia) just released its seventh issue today, featuring contributors from around the world. I’m pleased to be represented by two texts, “Best Offer” and “Quick Cash Secret.” Both of these are from a new series in which I’ve attempted to work with the kind of language deconstruction displayed by the two Facebook transactional AI units before they were disconnected. You can read them here.

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One poem and five pieces of asemic calligraphy published in Angry Old Man #7

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A new issue of experimental lit journal Angry Old Man was released online on May 29, featuring an encyclopedic selection of works from the international avant garde. I’m pleased to be represented by five more works of asemic calligraphy (view here) and the text piece “Final Days” (view here). Samples below.

The text piece is one of my experiments to replicate machine language, following the lead of the Facebook AI units which detourned English to their own meaning and syntax. These pieces represent transactions of some sort–persuasive messages, negotiations, or something else.

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“Flip Operations II” and 5 asemic calligraphy works published in Otoliths

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The latest issue of Otoliths was released today, this one being Issue 53, the southern autumn, 2019. As usual, it’s an encyclopedic compendium of “plays, poems, paintings, reviews, stories, and collaborations galore” from across the international avant garde spectrum, including work from Lynn Strongin, Jeff Bagato, Pete Spence, Kyle Hemmings, Seth Howard, Andrew Topel,  Jim Leftwich, Steve Potter, Sanjeev Sethi, David Baptiste Chirot, Alison Ross, Mike Callaghan, John M. Bennett, Stephen Bett, Jim Meirose, Joel Chace, John Bradley, Dah, Ian Ganassi, Laura Bell, Emilio Morandi, Steve Dalachinsky, Jacob Kobina Ayiah Mensah, R. Keith, Cecelia Chapman, Keith Polette, Daniel de Culla, M. Liberto Gorgoni, Olivier Schopfer, Mary Cresswell, Jack Galmitz, Anton Yakovlev, B. J. Muirhead, Nina Živančević, Gregory Kimbrell, Cameron Lowe, Pat Nolan, Richard Kostelanetz, Daniel f. Bradley, Sheila E. Murphy, Adam Fieled, Bill Wolak, Márton Koppány, M.J. Iuppa, Gregory Stephenson, Elaine Woo, Karl Kempton, J. D. Nelson, Carol Stetser, Neil Leadbeater, Texas Fontanella, Tony Mancus & CL Bledsoe, gobscure, David Lohrey, Douglas Barbour, Keith Higginbotham, Guy R. Beining, Sarah Sarai, hiromi suzuki, Thomas Fink, Maya D. Mason, Carla Bertola, Tom Beckett, Randee Silv & Mumtazz, Mark DuCharme, Michael O’Brien, Elmedin Kadric, Keith Nunes, Bob Heman, John Kalliope, Rebecca Ruth Gould, Charles Borkhuis, Tony Beyer, Kenneth Rexroth, Maralena Howard, Stu Hatton, Michael Brandonisio, Brian Glaser, Penelope Weiss, Stephen Nelson, Tom Daley, Bernie Earley, Anna Cates, Jeff Harrison, John Levy, Vernon Frazer, Miro Sandev, Sabine Miller,  Christopher Barnes, Nick Nelson, Jimmy Rivoltella, Katrinka Moore, Joe Balaz, Marilyn Stablein, Paul Pfleuger, Jr., John Pursch, Joseph Buehler, Colleen Woods, Michael Philip Castro, Michael Prihoda, Henry Crawford, Wes Lee, & Gay Beste Reineck.

I’m very pleased to be in the bunch with one text work and five asemic calligraphy pieces.

“Flip Processor II” is actually a “short story” about two AI robots conducting business transactions in a proprietary language consisting of a limited vocabulary and specific syntax. You can check out this work here.

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One poem and five asemic works in Angry Old Man

AOM 6 coverOnline experimental lit journal Angry Old Man released Issue 6 today, with another great roster of visual, text and video work from across the spectrum of the international literary avant garde. I’m pleased to be represented by one text piece and five asemic calligraphy works. The text piece is part of a new series of experiments involving a very restricted vocabulary intended to mirror the kind of language invention of an AI transaction robot. View the text piece here, and the asemic calligraphy here.

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AOM 6 asemic

“Paradise in a Pill” and two other poems, plus five asemic letters in Angry Old Man

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Angry Old Man is one of the best online journals out there for experimental words and images. AOM issue #5 was just released, filled with great contributions from the international avant garde poetry scene. I’m pleased that several of my works are included: three text poems from my “robot language” series–“Paradise in a Pill,” “This is What We Know,” and “Your Body Is Waiting”–plus five video stills that represent part of an alien asemic alphabet. You can view the images here, and read the poems here

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The texts form part of a new series of experiments inspired by the Facebook AI units that recently developed their own language using English words with different syntax and meaning. The AI units were intended to carry out customer service transactions and negotiations, and the format of their language seems to be a powerful way to confront and manipulate the continuous stream of commercial messages invading our mental space. I’ve written more about this work here.

Each of these three pieces were initiated by phrases contained in spam emails that seemed evocative of something more mysterious or sinister…like something a robot would say when addressing an audience of meatbags.

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“You Need a New Heart” published in Avant Appal(achia)

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Experimental poetry journal Avant Appal(achia)‘s Issue #6 went live today. Nice selection of interesting text and visual work. This one also includes my poem “You Need a New Heart,” one of a series of pieces based on the idea of an imaginary AI transactional language. You can read the piece and the whole issue here.

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This text forms part of a new series of experiments inspired by the Facebook AI units that recently developed their own language using English words with different syntax and meaning. The AI units were intended to carry out customer service transactions and negotiations, and the format of their language seemed to be a powerful way to confront and manipulate the continuous stream of commercial messages invading our mental space.

These texts represent an attempt to replicate a machine code constructed from an extremely limited vocabulary, often initiated by spam emails. Each piece develops by permutations, repetition, and sound/rhythm. It’s impossible for the human observer to know if the machine is analyzing or tabulating data, performing a calculation, conducting a negotiation, or making a persuasive appeal. Any of these functions is a possibility. In a way, the texts are a form of speculative fiction: looking at a machine narrative pulled from a future where AIs have been released to perform functions on their own. As in the case of the Facebook AIs, these instances show a machine or machines adapting human (English) language for their own ends. The repetition of the key words imitates a transactional language, as if a carnival barker is repeating an appeal to a potential audience. But the end result also reminds me of a magical incantation appealing to a familiar spirit.