FlaRFFlorida Renaissance Festival
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El resultado es su tercer libro, El flarf del narco, editado por el Fondo Editorial Tierra Adentro (2015), dedicado a unos parientes suyos desaparecidos en Nuevo Leon.
En El flarf del narco hay una nota introductoria donde el escritor advierte que no se trata de la poesia tradicional.
En 2010 asisti a un encuentro de poesia joven en Chile y ahi fue cuando escuche por primera vez la expresion flarf, y me quede con la duda, pero ya en el taller con Roman Lujan vi como era la forma y el estilo de esta poesia.
The Flarf phenomenon was created as he shared the poem on other poetry lists, leading to others sharing their "Flarf' works.
Hoy references Zizek's infamous allegorical readings of toilet design as a way of critiquing flarf, or Google-sculptured poetry, Sussman uses the psychoanalytic notion of "introjection" to discuss Charles Bernstein's foregrounding of collage and method (11, 19, 21), and Ngai's chapter on "Stuplimity" moves from Stein and Beckett to method in the work of Dan Farrell and Kenneth Goldsmith, with a brief foray into Lacan on repetition.
to e-invent, to flarf cleverly collaging bits from the Web to leave
Neither traditionally lyric nor wholly Flarf, which poet Gary Sullivan explains is poetry that acts as a "kind of corrosive, cute, or cloying, awfulness.
Dorothy's redacted diary entries create a catalogue that is similar to the poetics of Flarf, but Queyras's attentiveness to grammatical architecture reorients without effacing the lyric "I.
Flarf belongs to this heretical trajectory in literary-technological experimentation, and it has the good sense to avoid any pretension about it: Degentesh announces matter-of-factly that she modified both her method and her results in various idiosyncratic ways.
We can't all run to our Ouija boards, but certainly, it's not that far from the experiments by Flarf or the Conceptual Writers.
While there have been many poets since the mid-1950s and 1960s who have taken up the challenge of generating poems with a computer, (4) Erin Moure is particularly relevant to this discussion as her creative work is especially noteworthy for the ways in which it has gradually moved away from the lyric and, in service of her dedication to a finer focus on the workings of the word itself, in 1999--right at the beginning of the development of the largely American-dominated conceptual writing and flarf poetry--turned to writing poetry that is both algorithmically produced or computer-generated and comes to us in book form.
As I mention above, any number of conceptual and/or flarf poems (generally speaking, poems mined or generated from internet searches) are recent examples of loosely or strictly generated poems from the late twentieth century and the early twenty-first century by Goldsmith as well as (to name a few) Robert Fitterman, Nada Gordon, and Gary Sullivan.