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Thirteen Meditations on the Untranslatable single work   poetry   art work   "Open the manuscript to a parable"
Issue Details: First known date: 2018... 2018 Thirteen Meditations on the Untranslatable
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  • Author's note:

    In Thirteen Mediations on the Untranslatable, seriality offers a method to contemplate the temporal. Printmaking as a medium always contains the possibility of the multiple, and the slight variations in the thirteen etchings are intended for close viewing. The multi-plate bleed etchings are intended to be uncontained and therefore contemplative and enigmatic, deliberately at a scale to draw the viewer in to personal encounter. The etchings are accompanied by a thirteen-stanza poem of the same name. The images and text are intended to provide complementary entry points into the meditation: each etching with its own stanza displayed below or beside it. The etchings employ the same two spit-bitten plates that form a base layer that is then overprinted with different, abstract line etchings, that resemble the mode but not the meaning of words and so are not prescriptive of interpretation. This work was shown in 2017 at a group exhibition Connect-ed by the NightLadder Collective at the Brisbane Institute of Art.

  • This poem is in thirteen numbered parts with accompanying prints. 

Publication Details of Only Known VersionEarliest 2 Known Versions of

  • Appears in:
    y separately published work icon Axon : Creative Explorations Materiality, Creativity, Material Poetics vol. 8 no. 1 May 2018 14093085 2018 periodical issue

    'Material poetics is not a new concept. The last century has seen the boundaries between creative genres dissolve, allowing attentiveness to materiality — once the exclusive concern of sculpture and craft — to pervade and tantalise less tangible practices. The development of a digital realm has not destroyed materiality, as originally feared, but served to foreground it; and the collaboration that can take place between digital and analogue, verbal and visual, is what drives this issue.

    'Writers such as Kristen Kreider (Poetics and Place: The Architecture of Sign, Subject and Site, 2014), Lyn Hejinian (The Language of Inquiry), James Stuart (The Material Poem), Astrid Lorange (On Language as Material), and others deal with language, its material properties, its affinitive qualities. Where creative practitioners in general work with physical, tangible materials – everything from paper and paint through to the body – writers typically have nothing but language as their material. However, words, phrases, sentences and lines have their own tactility and affordances, and this is explored in the special section in this issue – ‘The Poetic Line’, edited by Owen Bullock. His introduction provides a context to the line, its property and its potential; and the contributions to that section, as well as contributions by poets Geoff Page and Jackson to the main section, exemplify the material practices of poets.'  (Editorial introduction)

Last amended 22 Jun 2018 10:55:06