Scope and Contents

Torres wrote to the Sackners that the drawing for this print was a calligraphic comic made with black & red india ink, rapidograph pen, x-acto blade, enamel coated glossy paper, glue. It depicts meticulously precise letterforms with minimally rendered characters in freeform angles offset by geometrics.The text was inspired by rap music, H-Man is a superhero-Buddha fighting war with peace in sound bites as follows. Look...it's Horrendo Man. "Amma break yo face!" "Amma break yo case!" Just wait now, fellas! "Amma git'ma gun!" "Ammo keel ya!" Hey mates, don't gestulate... you gotta R.B. so just postulate! Amma king a calm, that's no brag-a-dag, bro! Chill, you mutual quads, you facin' Horrendo! -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

In a communication to the Sackners, Torres states that this print is a calligraphic comic made by scanning the original drawing that used black & red india ink, rapidograph pen, x-acto blade, enamel coated glossy paper, and glue with meticulously precise letterforms with minimally rendered characters in freeform angles offset by geometrics. The text was inspired by rap music, H-Man meets his villain BauBug with a cryptic "to be continued" at the end. Horrendo Man meets Bau-Bug. Don't be callin' me no louse. Amma froma BauHouse. Amma muncha people,too! Bau-Bug is afta you! "Translate the slate, Jack...that bug is wack!" Hey mates, constructivate, Moholy-Nagy's no holy fate! This Mister Motown's onna motel kick. He's an overgrown Geometric. "Pardon me, Si Cumference...go drug yo jug. If radiance could fly, it be I...Bau-Bug!" 2-B Scene -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This print was commissioned by the Telephone Journal for the exhibition at The EFA Foundation "Telefone Sem Fio: Word-Things of Augusto de Campos Revisited" from November 4 - December 17, 2011. [The Sackner Archive lent an original manuscript and limited edition works to this exhibition]. From the catalogue, the following citation was printed. "This piece is an homage to the mantras I read within de Campos's aesthetics"”where words transmute into each other as they roll over their own repetition"”creating breath within breath, an echo of language as it shape shifts past surface-meaning into base-origin, the primal sound underneath. I also wanted to walk in the minimalism of his graphic sensibility while inserting a charge of my own. His piece "CODIGO" spoke to me in its graphic vertigo. I read "GOD" in the letterforms, a circular oneness, a vortex that traps while liberating, perhaps my own illusions revealed. I went off on that tangent, designing the G-O-D letter forms into a...

Scope and Contents This is the first edition of the book that is now in its third printing. Publishers Weekly: "AYYY: soy bilingual... pero BILINGUALISSIMO!... de nada!" screams the 18-point sans serif font of "A Nuyo-Futurist's Manfestiny," the Blast-like final section of this frenetic yet elegantly conceived collection. A deft recombination of digital media and information arts, mock multiculturalist imperatives, performance and sound poetry and post-Language subjective lyricism, Shock Worker is one more unexpected twist in the career of Torres, a New York poet who was once associated with the performance poets of the Nuyorican cafe. While some of the poems resemble exploded bilingual eye charts designed by El Lissitzsky or astrological diagrams for deviant religions, this book has lovely quiet moments; the delicate lyric "Separatist Invasion" is a little mantra against the alienated sensibility: "There have been a thousand sightings of people I used to know. Separations of copies of who it is they...

Scope and Contents

Using ambient language"-fragments, excerpts, stage directions, echoes, conversation snippets, syntactic undulation, and rigorous sonic chaos -- Edwin Torres creates an alchemy of language, what he calls "electrobabble" and "algorithmictotem." Amid the fast-paced frenzy of his lyrical style, Torres finds an excited reason for hope and purpose: "one by one/ the rhythmic yuwanna/ will climb the fearist/ the murmuring yugottit/ will find the liminal/ the metronomed howboutit/ will catch the kicker." Amid such restless verbal motion, things will happen, things must happen; as order will emerge from disorder, a sense of calm gradually suffuses THE POPEDOLOGY OF AN AMBIENT LANGUAGE. "This all impossible/ But I appear it on page, so/ Becomes possible on way-through page." This book is also designated Atelos 29. The front cover title contains colored letters PAGE. -- Source of annotation: Marvin or Ruth Sackner.