When another member posted their copy of this chapter, I was immediately struck by the fact that Cheryl had decided to use overlaying. This is an aspect of vispo and concrete poetry that has been discussed here many times. I also wonder if this relates to the "confusion of tongues" discussions that have emerged involving TCG. The earlier draft seems much more stark and open. Here's draft #1:
The first thing I noticed about Cheryl's art was that the symbols she uses are not the standard fare you see in Western visual-verbal work. Now for her contribution to the book, she has decided to over-lay the symbols on recognizable words. The result is certainly more chaotic. The over-laying produces new symbols. While there is possible distortion and fragmentation often associated with the industrial and post-industrial, I note the organic quality of the piece has increased. This could be something worth exploring. Here are more details from draft #1:
This, to me, is a strong image from draft #1. Discussions have affirmed that TCG will be a text whose main focus is an exploration of the nature of language(s). In draft #1, words are separated from symbols; in draft #2, they are connected. One thought I had about this: Cheryl has built the process of revision into the text. With books, we are conditioned to expect a "finished product." Numerous drafts that led to the creation of the finished draft are usually not considered. The approach in TCG shows the accumulation of different versions. It raises very pertinent questions: When does composition begin? When is it complete? Do different drafts present competing and possibly contradictory views? Are our own views shifting? How can they be integrated? Should they be integrated? More detail from draft#1:
For me, there is real impact on the draft #2 "Chaos" page with the over-lays. My favorite in draft #2, for sure. The use of the grey (or silver?) adds to that impact, relating back to the discussion about using color with asemic writing.
Another similarly powerful spread from draft #2. Subjective response: I think of Street Art. How is this possible?:
Cheryl's TCG chapter images are very strong and interesting. My comments amount to random thoughts. I do think the record of process here is illuminating. I find myself wanting to know why the choice was made to go in this direction. I noticed that with TCG, contributors began altering their distinctive styles as soon as chapters by other contributors were posted. I'm not used to collaborative projects like this - especially involving so many people. The discussions about individual chapters in many cases seemed to involve collective decisions about theme and the direction of the narrative (or purposeful lack thereof). We associate artistic production with the individual. With projects that require the involvement of many people, there is usually someone designated as ultimately being "in charge." This has not been the case with this project - decisions were made collectively without any final authority. Perfecting a system and the ability to work this way is going to provide tremendous advantages - especially when culture is largely defined as warring factions. I hope to be involved in more of these projects, and I'm very interested to learn more about the dynamics of collaborative projects of this nature.
Thanks for putting up with the rambling, Cheryl. Perhaps it raises some issues of interest related to TCG. I'm glad to have documentation of your chapters for my own records.
Mail-art word of the day: Red (TYCP)
Mail-art country of the month:Russia
Postal weather conditions: Winter approaches - think south