@book {2982,
	title = {Time flies {\textellipsis} in pirouettes},
	year = {2020},
	note = {AK 2020/16
},
	publisher = {Akademie der Bildenden K{\"u}nste},
	organization = {Akademie der Bildenden K{\"u}nste},
	address = {Wien/Berlin},
	abstract = {Als Erg{\"a}nzung zur Ausstellung "New Views on Same-Olds" der Kuratorinnen June Drevet, Stefanie Schwarzwimmer und Andrea Popelka erschienene Publikation. Die Ausstellung zeigt verschiedene k{\"u}nstlerische Auseinandersetzungen mit dem Loop und der ihm inh{\"a}renten Ambivalenz zwischen Stillstand und Bewegung, zwischen Ausweglosigkeit und Aufbruch. Von roten F{\"a}den, Zeitkr{\"u}mmungen und Bildfalten. Von der zauberhaften Taktilit{\"a}t des Clubs. Von Ohrw{\"u}rmern und Geh{\"o}rschnecken. Von Momenten, in denen einem das Herz aufgeht und wieder zu. Von endloser Produktion und vom Anhalten, vom Stoppen und Weitermachen. Vom R{\"u}ckw{\"a}rts- und Abw{\"a}rtslaufen, vom Warten und Erm{\"u}den. Vom Altbe{\"a}ugten, neu gesehen durch elastische Pupillen. New Views on Same-Olds widmet sich Krisen der Zeit, aktuellen und strukturellen. Wer oder was gibt die Richtung vor? Und was passiert im Dazwischen, in den vermeintlich nebens{\"a}chlichen Momenten? Die teilnehmenden K{\"u}nstler_innen w{\"a}hlen ihre ganz eigenen Zug{\"a}nge zu Figuren nichtlinearer, nichtprogressiver Zeit. Sie erz{\"a}hlen Zeit anders, lassen sie zirkulieren, spulen zur{\"u}ck und schichten sie. Bewegungen wie die des Loops erm{\"o}glichen ein Innehalten. In der st{\"a}ndigen Wiederholung weiten sie den gewohnten Blick, fordern auf zu einem Immer-wieder-neu-Betrachten und -Aufstehen, einem Immer-wieder-das-Wort-Ergreifen.},
	keywords = {2020, 2021, Akademie der Bildenden K{\"u}nste, Ambivalenz, Aufbruch, Ausstellungskatalog, Ausweglosigkeit, Bewegung, Digital, Digitalisierung, Gegens{\"a}tze, Loops, New Views on Same-Olds, Poesie, Stillstand},
	issn = {978-3-901031-34-2},
	author = {June Drevet Hg. and Barbara Kapusta Hg. and Andrea Popelka Hg. and Stefanie Schwarzwimmer Hg. and Eva Alken and Jette B{\"u}chsensch{\"u}tz and C{\'e}line L. Couson and Diedrich Diederichsen and June Drevet and Adam Farah / free.yard and Misha Faulty and Nina Franz and Kelly Ann Gardener and Susanna Hofer and Bernhard Jarosch and Mariann Diedrich and Barbara Kapusta and Anna Paul and Andrea Popelka and Vika Prokopaviciute and Constanze Ruhm and Stefanie Schwarzwimmer and Miroslava Svolikova and Johanna Charlotte Trede and Nada Tshibwabwa}
}
@book {2984,
	title = {Novelty Theory},
	year = {2019},
	note = {THE 629},
	publisher = {The 87 Press},
	organization = {The 87 Press},
	address = {London},
	abstract = {Novelty Theory is the fiery debut collection of poetry by Caspar Heinemann.
"Caspar Heinemann has written an anthem for alien beloveds everywhere, in the time before rising up and where the {\textquotedblleft}pre-nothings{\textquotedblright} burn up as soon as you touch them. Reading this book burst adhesions in my outlook, which is what I want (always.) A book without an afterwards or a before, Novelty Theory occupies an intense present that does not console its readers. Can poetry be a form of cultural revenge?" {\textendash} Bhanu Kapil
Caspar Heinemann is a poet, artist, and academia-adjacent independent researcher based in London and Berlin. His research interests include critical mysticism, gay biosemiotics, illegitimate communisms, and professional irreverence. He has previously written on a pantheon including John Wieners, Diane di Prima, Paul Thek, and Derek Jarman. They hold a BA in Fine Art from Goldsmiths, University of London. Novelty Theory is his first book. },
	keywords = {Alltag, Gedichte, Live Constantly Escapes, Mystik, Natur, Poesie, Queer},
	issn = {978-1-9164774-3-8},
	author = {Caspar Heinemann}
}
@book {2406,
	title = {Texte zur Kunst. Poetry},
	year = {2016},
	note = {Z Texte zur Kunst 103/2016
},
	publisher = {textezurkunst},
	organization = {textezurkunst},
	address = {Berlin},
	abstract = {Mit Ausgabe 103, {\quotedblbase}Poesie/Poetry{\textquotedblleft}, widmet sich Texte zur Kunst der verst{\"a}rkten Sichtbarkeit einer poetischen Sprache in Kunst und Kunstkritik und untersucht das mit dem Modell der/des {\quotedblbase}artist-poet{\textquotedblleft} auftretende Wechselspiel zwischen Politik, Affekt und Digitalit{\"a}t. Wenn sich heute jede/r auf Grundlage je individueller Erfahrungen erm{\"a}chtigt f{\"u}hlen kann, (von sich) selbst zu berichten, scheinen die Institutionen einer objektiven Kritik nicht mehr zu gen{\"u}gen. Was bedeutet somit die poetische Sprache f{\"u}r die Kritik? Populistische und anarchistische Poesie, Post-Jahrtausendwende-Netzpoesie, die Sprache der sozialen Medien, die Poesie als sprachlichen Mehrwert, sowie die objektgewordene kunsthistorische Poetik betrachtend, geht diese Ausgabe dem Zusammenhang zwischen der scheinbaren Unmittelbarkeit von poetry, ihrer oft hyperpers{\"o}nlichen Stimme und dem aufmerksamkeits{\"o}konomischen Gebot, vor allem Sichtbarkeit zu erlangen, nach.},
	keywords = {Affekt, artist-poet, Digitalit{\"a}t, Kunstkritik, Netzpoesie, Poesie, Poetik, poetisch, Politik, Sprache, Zeitschrift},
	issn = {3-946564-02-7},
	author = {Isabelle, Graw and Tim, Griffin and Joshua, Glover and Liz, Kotz and Monika Rinck and Ada O{\textquoteright}Higgins and Felix Bernstein and Micaela Durand}
}
@book {2970,
	title = {Who Touched Me?},
	year = {2016},
	note = {THE 626},
	publisher = {If I Can{\textquoteright}t Dance, I Don{\textquoteright}t Want To Be Part Of Your Revolution},
	organization = {If I Can{\textquoteright}t Dance, I Don{\textquoteright}t Want To Be Part Of Your Revolution},
	address = {Amsterdam},
	abstract = {Who Touched Me? ist eine Zusammenstellung der Recherchen von Fred Moten und Wu Tsang, die gemeinsam die Rollen des Dichters und des Performance-K{\"u}nstlers innehaben. Es zeichnet die Entwicklung ihrer skulpturalen Performance Gravitational Feel nach, die zum Zeitpunkt der Drucklegung des Buches noch nicht realisiert worden war. Das Buch stellt dem Leser diese Arbeit in ihrem virtuellen Zustand vor, w{\"a}hrend es gleichzeitig Motens und Tsangs gelebte Erfahrung der Zusammenarbeit anhand eines Textkorpus nachzeichnet, der sich aus E-Mail-Korrespondenz, Notizen, Gedichten, Fragmenten von Essays und Transkriptionen fr{\"u}herer gemeinsamer Arbeiten zusammensetzt. Diese miteinander verwobenen Texte bilden eine neue soziopoetische Form. Um aus den Seiten des Buches zu zitieren: "Die Forschung/das Experiment besteht darin, wie man Verstrickung wahrnimmt".

_________________________________

Who Touched Me? is a compilation of research by Fred Moten and Wu Tsang, who together cohabit the roles of poet and performance artist. It traces the development of their sculptural performance Gravitational Feel, which was yet to be realized at the time the book went to print. This book introduces the reader to this work in its virtual state, while tracing Moten and Tsang{\textquoteright}s lived experience of collaboration through a body of text composed of email correspondence, notes, poetry, fragments of essays, and transcriptions of earlier collaborative work. Together these entwined texts create a new socio-poetic form. To quote from the book{\textquoteright}s pages: {\textquotedblleft}The research/experiment is in how to sense entanglement.{\textquotedblright}},
	keywords = {E-Mail, Entanglement, Experiment, Gravitational Feel, Kollaboration, Kooperation, Live Constantly Escapes, Notizen, Performance, Poesie, Research},
	issn = {978-94-92139-06-1},
	author = {Fred Moten and Wu Tsang}
}
@book {_cooked_2008,
	title = {The Cooked Kitchen. A Poetical Analysis},
	year = {2008},
	note = {THE 406},
	publisher = {Springer},
	organization = {Springer},
	address = {Wien},
	abstract = {EOOS, the internationally known design office, has redefined the kitchen cosmos with 40 kitchen utensils. EOOS has abandoned the beaten paths of design theory and design history and used {\textquoteright}poetic analysis{\textquoteright} to describe creative design and use processes. This design philosophy searches for intuitive images, rituals and myths that serve as starting points for EOOS{\textquoteright} design process. Ancient rites meet up with high tech today. EOOS meets the demands of this complex theoretical and practical design starting point with their approach. Kitchen images from different times (wood cuts, paintings, photography, actual objects) are transformed into one uniform shape. All objects therefore seem to have equal rights, first as shadows, but they also have corporeal and material features. This creates a completely new image and text discourse that is independent from time and space. A new design philosophy.},
	keywords = {Belletristik, design, Philosophie, Poesie, Politik, Theorie},
	issn = {978-3-211-77641-4 },
	author = {EOOS Wien}
}
@book {2257,
	title = {Tender Buttons },
	year = {1997},
	note = {THE 419},
	publisher = {Dover Publications Inc. },
	organization = {Dover Publications Inc. },
	address = {New York},
	abstract = {Published in 1914, Tender Buttons is one of the great Modern experiments in verse. Simultaneously considered to be a masterpiece of verbal Cubism, a modernist triumph, a spectacular failure, a collection of confusing gibberish, and an intentional hoax, the book is perhaps more often written about than actually read.

Divided into three sections{\textemdash}{\textquotedblleft}Objects," {\textquotedblleft}Food," and {\textquotedblleft}Rooms{\textquotedblright}{\textemdash}the book contains a series of descriptions that defy conventional syntax. William Gass notes that these are, respectively, {\textquotedblleft}things external to us, which we perceive, manipulate, and confront," {\textquotedblleft}things which nourish us," and {\textquotedblleft}things which enclose us.{\textquotedblright}

An American by birth, Gertrude Stein lived as an expatriate in Paris for most of her life. At once a novelist, an essayist, and a poet, she was famous for hosting evening salons that gathered together the great thinkers, painters, and writers into one room, and sparking (and recording) their exchange of ideas. Besides Tender Buttons, her major works in verse include Patriarchal Poetry and the somewhat more accessible Stanzas in Meditation.

Tender Buttons is not frequently anthologized, perhaps because it is meant to be read as a single, long prose-poem. However, notable selections include {\textquotedblleft}Suppose an Eyes," {\textquotedblleft}A Carafe, That is a Blind Glass{\textquotedblright} in which she seemingly announces her intentions towards Cubism, as well as {\textquotedblleft}In Between," which is often read as a feminist poem because of its strong (though abstract) themes of sensuality. Another noteworthy poem is {\textquotedblleft}Orange In{\textquotedblright} from {\textquotedblleft}Food," which contains both the repetition and word-combining that many consider to be cubist.

Still avant-garde and experimental ninety years since its first publication, Tender Buttons has inspired generations of experimental poets, providing inspiration for the Language movement, as well as a variety of imitations{\textemdash} both successful and not. She is beloved and cited as influence by many poets and novelists, including William Gass, Sherwood Anderson, E. E. Cummings, Ernest Hemingway, and Harryette Mullen.
},
	keywords = {Belletristik, Feminismus, Poesie, Roman, Theorie},
	issn = {978-0-486-29897-9 },
	author = {Gertrude Stein}
}
