THE MATERIAL POEM
an e-anthology of text-based art & inter-media writing
The Material Poem is a new e-anthology, edited by James Stuart and published by non-generic productions. It features the work of some 28 Australian poets, artists and critics, all of whom are engaged with poetry, and more broadly language, as a material form.
This body of work is inter-disciplinary, inter-media and often collaborative, spanning a wide variety of formal contexts page, screen, canvas, space, book, performance and more. The Material Poem showcases the vibrancy of experimental writing in Australia, demonstrating how writing functions as a practice that is never purely literary.
The Material Poem is now available in a print-on-demand edition and can be purchased via Lulu.com.
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The Material Poem is available as a free PDF download. File size: 46.9mb. For best results, right-click on link and select "Save link as", "Download linked file" or "Save target as".
You will need Adobe Acrobat 6.0 or later to open this file. Download the latest version here. The latest version of Quicktime and Flash Player are also recommended to access media content.
The PDF file is encrypted to prevent unauthorized copying of any text and images. If you would like to obtain images or text for review or similar purposes, please contact the editor/publisher: jstuart[at]nongeneric[dot]net.
Editor & Designer James Stuart
268pp (incl. covers)
Size: A4 (297 x 210 mm).
First published 2007 by non-generic productions, Bondi NSW.
The Material Poem is an anthology of poetic art works edited (curated?) by James Stuart. The work, by 28 artists, is interested in the materiality and objecthood of the ‘poem’, and often engages inter-media and cross-disciplinary compositional methods. The range is dynamic; published text, public art, sculpture, performance, digital media, graphic design, photography, environmental installations, animations and built objects are brought together by a collective idea: that the ‘poem’ is a fluid, multitudinous, bodily, meaning-full (rather than meaningful) thing.
The work exhibited in this anthology rejects an inert, historical notion of the ‘poem’ and its separation from the rest of language and life. The layout and digital format of the anthology suggests a contemporary reading of the poem as a site of performance, a multimedia landscape and an opportunity for collaboration and dialogue. It is a remarkable achievement as a project, and a positive indication of the future of poetic art works in a digital context.
University of Technology, Sydney