upcoming: event at Sunview Luncheonette

On February 27 I'll be discussing my work and pontificating about Dump.fm (to the annoyance of many dumpers) at a live event in Greenpoint, Brooklyn, NY, organized by Joe Milutis. The other participants are Nico Vassilakis and Cat Tyc, who'll be talking about their own respective projects (and not about dump.fm per se). Below is the text from Sunview's announcement of the event:

a nighght of image-textonics
Tom Moody ~ Nico Vassilakis ~ Cat Tyc

Join us at the Sunvievv Luncheonette for a panel of thr33+ artists to discuss, present, question and preform the variegated commonities and rnultiptyxtodimensional worls of visual poetics, from Mallarmé to dump.fm. Enhanced by the possibilities of the innernots, yet against the grain of the meme, our night of vispo projected into the future and back again, captioned captioning and escaping captions closure, will answer what. Unseen practices, the avisual of the visual twice-seen (bisvisual, revisual, reversual), hypervisual, dividual, invisible and invisual. With a live stream of dump.fm throughout the evening (or until someone gets an eye poked out.)
February 27 @ 8pm EST at Sunview Luncheonette, 221 Nassau Ave., Greenpoint, Brooklyn


Nico Vassilakis wrestles letters to free them of their word scrum. Many of his results can be found online and on his website, Staring Poetics - http://staringpoetics.weebly.com/. Alphabet Noir, a book of texts about seeing writing & visual poetry, is forthcoming from c_L Books. Also, a book of poems, In The Breast Pocket Of A Fine Overcast Day, will come out later this year from Deadly Chaps Press. Nico is vispo editor for COLDFRONT magazine.

Cat Tyc is a Brooklyn based writer/artist whose work exists on the precipice of poetic mediology. Her video work has screened locally and internationally at spaces that include the Microscope Gallery, Anthology Film Archives, CUNY Graduate Center, Brooklyn Museum, Kassel Fest and the PDX International Festival where she also acted as a curator of poetry on a bill combining poetry with experimental film presentations. In 2006, she was awarded a Flaherty Seminar Fellowship. Her video work has been anthologized in the "Journal of Short Film" series distributed by Ohio State University. She is co-curator and co-director with Victoria Keddie of the Poet Transmit, a live/recorded broadcast series that explores the projective possibility of poetics in transmission. Her most recent writings have been published in Weekday, The Sink Review and 6x6. Currently, she is in her second year as a MFA Candidate in Writing/
Activism at Pratt Institute.

Tom Moody is an artist and musician based in New York City. His low-tech art made with simple imaging programs, photocopiers, and consumer printers has been exhibited at artMovingProjects, Derek Eller, and Honey Ramka galleries in New York as well as other galleries and museums in the US and Europe. His videos have been screened in the New York Underground Film Festival, Chicago Underground Film Festival, Dallas Film Festival, and other venues, and he and his work appear in the film 8 BIT, which premiered at the Museum of Modern Art in New York. His blog at https://tommoody.us, commenced in February 2001, was recommended in the 2005 Art in America article "Art in the Blogosphere." His music made with the home computer and various electronic gear has been heard at Apex Art in NYC, WNYU-FM, and basic.fm (internet radio).

Produced by Joe Milutis

*Milutis has written, "In Mallarmé's 'Sonnet in Xy,' he uses the mysterious word 'ptyx.' Some have said this word is precisely meant to have no image. If some poetry resists (at least in this case, but in many others) the demands of the 'poetic image,' is that because the idea of poetry + image is a fatal combination? That is, in what ways does text + image merely create a redundancy, or distract with plenitude or close down mystery? Is there something in visual poetry that returns to the avisual or anti-informatic 'ptyx'? What does an image demand? What does a text demand? Is the difference still tenable? Does image-text create a web of communication? Of translations? Or does it exist in-and-of-itself, resisting info, resisting meme?