3:AM Magazine

Stone Garden 2, Paper

4 poems, 2 feedback loops.

feedback loops: object – paper – object.

possible topic: life before covid.

question: is nostalgia dangerous?

my answer: yes

your answer:

In the 119th of the Poem Brut series, new poetry by Ada Miles.

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She is applying to Miami, the one
In Ohio, or else Stanford. Or Lorain
County Community College.
She will take a train, she says,
From Ann Arbor to Columbus
But now the barista’s brains explode all over
The chrome machines for how you feel
About the stretched distance of steel
That will separate you from her.

By Nicholas Rombes.

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What “it” is remains the poetic potential on the page. I’m inspired by motherhood and Ireland’s history with the monks of Ireland’s manuscript creation. As a teacher, I find it funny how the English language is just 26 letters of sound and how the electronic impulse in the brain translates an image to a sound via a letter. To see the potential of a new language on the page is poetics in motion.

In the 118th of the Poem Brut series, new poetry by Michelle Moloney King.

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© Mikael Buck

These works resulted from training an Ai image generation algorithm with my asemic writing – the outputs from the algorithm I then used as raw material for these pieces. This is something I have been experimenting with recently using photography and I wanted to see how this technology would interpret asemic writing. In a nutshell these algorithms ‘dream’ up images for you based on the library of imagery that you train it with. This is a technology that will most likely be extremely prevalent at some point in the not too distant future. How quickly it will develop, who can say, but when it reaches fruition we can expect that it will be almost everywhere, and before long we will forget that it’s there.

In the 117th of the Poem Brut series, new poetry by Mikael Buck.

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In the beginning I approached visual poetry with the sense of needing to find a narrative, but then I found the more powerful, more liberating flows, arose when the rational mind went quiet and spontaneity was allowed to guide the hand, without the interruptions of teasing thoughts trying to force a pattern. The pattern could weave itself, the artist as perplexed and inspired by the resulting object as anyone. In this sense, in retrospect, I perceive a degree of automatism in the approach.

In the 116th of the Poem Brut series, new poetry by Thomas Helm.

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The page of literature has retained its ontotheological reputation. Before the built environment of the grapheme can be figured, before writing can be marked, certain prepropositional circumstances are supposed necessary that any project going under the name of art commence. Such discursive biases, however, besides being redundantly geocentric (for, one can route them to, say, architecture’s prepropositional ground), are apparently ignorant of a certain ongoing immanence, just as primordial as it is momentary: as Leon Battista Alberti inscribed, “QVID TVM?”

In the 115th of the Poem Brut series, new poetry by Albe Harlow.

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I burned everything, even
The art, so called. Don’t panic.

You should have seen the oil
Stain the sky and then rain down
In greasy drops.

A new poem by Nicholas Rombes.

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The poems are taken from a series, Adverts for Actual Hats, in which William Repass and Dan Ivec observed a number of Ivec’s illustrations – all featuring a hat of some sort – and dreamed together prose poems which act as deranged commercials for the hats seen in the drawings. If the reader is understandably covetous of such headgear, they may direct queries via Instagram: @escalator_harrison

In the 19th of the Duos series, new poetry by Dan Ivec and William Repass.

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Paula
Rebirth
Destruction
Wisdom

In the 114th of the Poem Brut series, new poetry by Pascal O’Loughlin.

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‘These found texts are from a fire precautions sign at a disused textiles mill in Farley, near Leeds. It was demolished soon after. The long, elaborate wording seemed to me to offer up other meanings.’

In the 113th of the Poem Brut series, new poetry by Mark L Valentine.

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