Argo Spier Complete works & download

Teatro De La Maestranza, Sevilla', Spain
Argo Spier at Teatro De La Maestranza, Sevilla, Spain

 

Poetry, Prose & Wallpaper poetry storytelling - AVK art



complete works
 

complete art
 
* not available
 

 

Argo Spier's Complete Works

Files are in htm and doc formats and contain between 100
and 350 A4 pages each. For private or school use duplication allowed.

1. Old Hat New Steel - 352 pages
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Contents
Contains the following poetic sequences:

Machines of Art
- The daring Prague interview.
Paulan's Log - Storytelling poetic sequence and Love in Cyberspace.
Bogy Road - A multi-levelled search into the essence of Wallpaper poetry.
Glimpses of the power & the darker sub-conscious side of Necro Poetica.
Poems of Innocence and Joy.
Douche and Addition - Beautiful poetry and columns.
Zinzli came home Albi - Fifteen Summer Poems from Chur.
Four Appels - Homespun lazy afternoon expectations,
the theme of love-and-a-world, feelings and humane awareness.
Kraköw poems - poems dedicated to Mitosz and written in Kraköw, Poland.

2. RAAm in 5 languages - 110 pages
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project releases and links
RAAm - Byte book/AVK graphic art. Meta-linguistics poetry 1895K
Colour Pages - Argo Spier and AVK in dialogue
description of contents

Afrikaans text with introductions and translations into Dutch,
French, Geraman and English.
A Kubrickian 'tour 'd force' accross the boundaries of language.
content - poetry
[sindroom]
korsakovsindroom
deja vu
log
ek kon alles zien deur my ope Raam
ek het gereis
ek het die skadelijke voël ingedeel
fotoperiositeit
plante wat op sap teer
count down
oor die wykende land
aion-spekulaties
groeiend sigbaar
vreemde koördinate
op n ander graad
lig gewig
teen die binnewand van die skeur
kalpas
die koms van Ohrmazd en Ahriman
maya astronoom-filosoof
[openbaring]
die verskyning van Karios
[ontop of gods path]
skip
swiegnot weier
huil mensch
wieter gott in diets
ontop of gods path
frar frir k
japan
voorlof
hart huh
o s sh rooibaard
onder die huis
pikkewasnet tnt mot
komposisie L
btrn bttr vok
[shass]
shass
t.d.
shass j
toilet

3. Blue Sweet - 330 pages
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related releases and links
patmos interview
contents
poetry storytelling sequences
heaps of cream
albatrosses, bears and chickens
page on page international
santa christiana d'aro
belim tower road
sampel four
yellow oranges
blue sweet
notes

discription of contents
Contains the following poetic sequences:

Continental Breakfast
- 'Sea' and 'Farmer poems'.
Hilarious Wallpaper poetry and beautiful songs.
Cream and Oranges - Sec and rudimentary Wallpaper poetry.
Santa Christiana D'Aro - Wallpaper Poetry and a bitter-sweet beautiful story
Blue Sweet - Over the threshhold the surreal.
Creative writing as a process and a decorous contribution
to the debate re the es-sence of literature.
Belim Tower Road - Wallpaper poetry containing perfect illustrations
of Necro Poetica. The resurrection of words already 'said and cold and told'.
Fragile vestalian sound poetry.
Sampel Four- Ditto as ubove.
Sampel Four Revised - Wallpaper poetry and Necro Poetic seances.
Moving into the absurd with the printing out of Wini.ini files,
exvoto texts and surreal platonic debate with the 'Masked Man of Sainte Margaritha'.

4. Longweekend Short Story - 162 pages
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description of contents
contains the following short stories and poetic sequences:
Oliver - Short story with tender undertones dealing with life,
love and the creative process. Irony and self-irony.
Black and Hay - A Millenium of poetry and 50 of a 100
and a lover's love for words = poetry. Love songs.
Legally a Muse - Short story dealing with the forbidden zone
of makeshift communication and overkill. Innocence versus instinct.
Lanapoule Revisited - Soft and tender. Deconstruction.
Long Weekend - Short stories - Hilarious and punchy. Naughty and licentious.
VilleSt.Gillis Croix de Vie -
Miscellaneous. Poetry.
Mr. Changs! from Ching-Ching - Summer Love from Chur.
A sad/sweet story of despair and hope. Hilarious but lovely. 2 Short Stories.
Madame Gillette' s Song - Alchemist love poetry with songs of a tender heart.
Poetry and prose intermingled.
Castle and Flower - Exercises in the art of imitating Haiku. Poetry
Let Your Carrillion ring.- With A Lover's Sundae Sarum, Queen of Sand and Sarum.
Green Muse Trying - The Story of Helena and the secret pleasures in the
Palace of Joy.
Short stories and poetry. Hardcopy revised version.
The Story of Caroline - Wallpaper poetry and prose intermingled.
Encyclopaedic yet enter-taining and with recognizable patterns.
Reality abroad and reality at home.

contents
contains the following short stories and poetic sequences:
short stories
oliver
legally a muse
long weekend
circle of champions
breakfast with francis bacon
the days of chang!s lue
green muse trying
silent strain
poetry
castle and flower
black versus hay
green water pain
zinzli come home albi
a sundae sarum
being a poet
seasons of sarum
catalan nuga
lanapoule revisited
sint gilles ville de croix
madame gillette

releases and links re 'longweekend'
dust cover
press releases
green muse trying
oxfam sales release

Byte book version - Screen captures and Blackwater stories.
Municipal Paint Opera Lodge Café. Height of a soul searching
and an Armagh-Vennenian love story.
Articles, translations and screencaptures. [1850K]

5. Blurbs of poetic storytelling collections

Bogy Road - A multi-levelled search into the essence of ‘Wallpaper Poetry’
and glimpses of the power and darker sub-conscious side of ‘Necro Poetica’.
Sampel Four - ‘Wallpaper Poetry’ and ‘Necro poetic seances’, moving
into absurdit with the printing out of Wini.ini files as poetry.
Mucus Gravel - A compilation of ‘sea’ and ‘farmer’ poems, hilarious
‘Wallpaper Poetry’ and beautiful songs.
RAAm - The only work in his mother tongue, the Afrikaans language;
a Kubrickian Space narration with translations of poems into various languages.
Municipal Paint Opera Lodge Café - Containing ‘The Blackwater Stories’,
‘Wallpaper Poetry’ and dreams.
Santa Christiana D’Aro - ‘Wallpaper Poetry’ and a brilliant and beautiful story.
Belim Tower Road - ‘Wallpaper Poetry’ containing perfect illustrations
of ‘Necro Poetica’, the resurrection of words.
F
fragile ‘Vestalian sound poetry’.
On the beach of Ville St. Gillis Croix de Vie - Miscellaneous and uncompleted.
Page - Miscellaneous and uncompleted.
A Lover’s Sundae Sarum - ‘Fifteen Anniversary Love
Poems’. Douche and Addition - Beautiful poetry and columns.
Zinzli came home Albi - ‘Fifteen Summer Poems from Chur’.
Seasons of Sarum - A collection of storytelling ‘Poetic Sequences’
and a deep drive into ‘Sarum’.

Belim Tower Road - ‘Wallpaper Poetry’ containing perfect illustrations
of ‘Necro Poetica’.

6. The Story of Caroline - 125 pages
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releases and pages re 'caroline'
Caroline - En-cyclopaedic yet enter-taining with recognizable patterns.
contents
contains the following:
poetry storytelling sequences
no parking
aemillian myths
musculus frontalis
touted lips
atomic teleology
primtive rituals
spaced majuscules
encrypted riddles
co-ejaculation as a complex
alcohol myopia
road to hell
slowdown process
a far cry
new portion
incomplete experieces
tower of song
mordacity idiot
closing time
being a poet
headlong nutmeg and intriguing
berlin or manhatten
without hesitation

7. Slender Strain - 120 pages
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releases and links re 'slender strain'
Slender Strain interview - Publisher's notes

contents
contains follwing short prose storytelling sequences
publisher's note
greens across
coming home pennon
snatch and steal
blue note
indecipherable print
dash of lemon
fawed toad
mixing saliva
orange muse
love yeti
wee-ing muse
blue grey for Madrid
moodropped muse
breaking the fast
legally a muse
taking you home
on the verge

8. Green Muse Trying - sold for Oxfam
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press release

9. Educational raports, articles and info re happenings

Articles and releases  

quick view of blurbs
wallpaper poetry and necro poetica
foreign languages - german, dutch and french
raflash- self-typing press release/europe's first Byte book
press page -
'dioxin' in belgium printing worldbook
info page - description of oeuvre

Exhibitions and art happenings

colour pages - with the graphic artist AVK
haiku art - with photograpy from ora odoura

Opera Critique
international newsreels
spier/mccormick opera pages

 

Obtain a 'complete works' zip-file FREE

 

Argo Spier's oeuvre

* secret body - '... honest, sincere and touching, but naughty and daring too, tender relations and libidinous desires ... a story stangely told, with a multitude of recuring themes neatly developed in both poetry and prose ... irony verging on pathos. In essence, the human condition in all its hilarity and typicality, a constant source-searching art-historical drive ... naked and fresh'

The secret body of poetry Wallpaper poetry and the kind Argo Spier communicates with - is poetry that comes into being with the use of recombined words and through the endless generation of  words, images and themes. It comes from everyday words, sentences, verses, from  existing  literature and from sophistic rhetoric, philosophy and  poems themselves. Necro Poetica is the 'horrific act' of doing it! A poet's meddling with existing literature... Dramatic and clever punchlines and carefully placed hints push the story along as it slowly reveals its true driving force : the creation of poetry with recombined words and an endless generation of words, images, themes and stories. Words are taken from everyday sentences and existing literature, and novel pieces of poems and complete poems are compiled" - LWCFSD Poetic Society

* word combinations - Argo Spier's work combine 'word' and 'picture', 'ear' and 'eye' in the dialectical relationship between 'hearing' and 'seeing', 'voice' and 'sight'. It combines the 'utterances of the poetic mind' with the 'visual expression of the artistic soul' and is a frail attempt to be 'a thing on its own' seeking the secret body of poetry tout court. He 'commits' wallpaper poetry and Necro poetica and he 'resurrects' words. 

* dramatic dialogue - The mixing philosophical utterances with poetry, poetry with story telling and dramatic dialogue with ordinary expression, and is 'fast-scrolling' and 'easy-read' endless generation of words, images and themes.

* scroling wallpaper poetic storytelling - Argo Spier uses the fast scroling wallpaper poetic storytelling technique for his deconstructive soul searching stories which almost always burns down to art-historical debates concerning the essence of writing itself. In the process 'Necro Poetica', the horrific act of a poet's meddling with existing literature and trying to resurrect words words 'old and cold', 'used and spoken' and 'abused' emerges and the whole turns into wallpaper poetry which irrevokably now becomes the art of 'not respecting' any of acknowledged genres of literature. He mixes philosophical utterances interminged with poetry, poetry with storytelling and dramatic dialogue with ordinary expression. Argo Spier's work combine 'word' and 'picture', 'ear' and 'eye' in the dialectical relationship between 'hearing' and 'seeing', 'voice' and 'sight'. It combines the 'utterances of the poetic mind' with the 'visual expression of the artistic soul' and is a frail attempt to be 'a thing on its own' seeking the secret body of poetry tout court. He 'commits' wallpaper poetry and Necro poetica and he 'resurrects' words.

* storytelling sequences - Argo Spier's Wallpaper storytelling sequences are complete stories and consist more than often of 800 or more pages of poems linked to one another by theme, word suggestion or rhythm. What poems are and are not, and where and when they start and/or when and where they end, is a question  Argo Spier is fully aware of when he writes and exploits the reader's curiosity. What should be the norm? Where does one 'cut' a poem in half to continue on a second page and still have poetry? Should the norm be to select sequences that fit on a page or should it be to enlarge the page to encompass the whole sequence?  This last suggestion is nonsense, since nobody is going to scroll down on-line the length of 8000 successive A4 pages! So it is a problem! And the question of what is more important, the message or the meaning? Isn't that a problem too? Which parts of Argo Spier's sequences should be presented and highlighted and which neglected? One just does not know what the right approach should be!

* wallpaper poetry and necro poetica - Argo Spier uses the fast scroling wallpaper poetic storytelling technique for his deconstructive soul searching stories which almost always burns down to art-historical debates concerning the essence of writing itself. In the process 'Necro Poetica', the horrific act of a poet's meddling with existing literature and trying to resurrect words words 'old and cold', 'used and spoken' and 'abused' emerges and the whole turns into wallpaper poetry which irrevokably now becomes the art of 'not respecting' any of acknowledged genres of literature.

* resurrection - When 'resurrecting' words Argo Spier uses carefully collected verses and phrases from existing literature and combine it with everyday utterances and philosophical references. The character is not important! The work is!What poems are and are not, and where and when they start and/or when and where they end, is a question  Argo Spier is fully aware of when he writes and exploits the reader's curiosity.

* necro poetica - Argo Spier works with 'words old and cold and used and spoken and abused. Necro poetica - the creation of poetry with recombined words and an endless generation of words, images, themes and stories - the 'horrific' acts of a poet's meddling with existing literature.

* sampel four revised - Wallpaper poetry and Necro Poetic seances. Moving into the absurd with the printing out of Wini.ini files, exvoto texts and surreal platonic debate with the 'Masked Man of Sainte Margaritha'.

* deconstruction - Hundreds of such deconstructive constructions clutter every single collection he has worked on. Mostly Argo Spier collects and selects the words he wants to use, or those that impresses him, by reading almost anything he can lay his hands on and listening to every kind of conversation within earshot. He then recombines these 'collected words' and 'phrases' and 'glues' them together, building surprisingly well-composed 'new stories'. There is also the constant luring into 'metaphysical discussion' and a hard-driven questioning of existing art-historical perspectives.

* interchangeable and decantable - 'Poetry! You wanted to know what poetry is! The essence of it is! How can I explain: A poet is not conserned with this. His intrest lies somewhere else. Poems are signs, insider material, or at least, deconstructive insider palpations of words. They are constructed out of things that are resilient, interchangeable and descantable and dynamic in temperament. There is movement, transition, division and inclination in poetry. The thingness of words, the things poetry are contrived and structured from, is thewhere/what-it-is-all-about in poetry.'

* wallpaper poety - Argo Spier's oeuvre contains storytelling poetic sequences. There are multiple levels in his work and three, four, five stories interwoven into his poetic storytelling sequences. Some collections contain up to 800 A4 pages and all poems, columns and proza are interlinked. Terms such as Wallpaper poetry and Necro Poetica are suitable to discribe his work. When 'resurrecting' words Argo Spier uses carefully collected verses and phrases from existing literature and combine it with everyday utterances and philosophical references.

Argo Spiers's Press Releases & interviews

1. green muse trying
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'... honest, sincere and touching, but naughty and daring too, tender relations and libidinous desires, a story stangely told, with a multitude of recuring themes neatly developed in both poetry and prose ... irony verging on pathos. In essence, the human condition in all its hilarity and typicality, a constant source-searching art-historical drive ... naked and fresh'

'Yellow is the sun and unlike
Softy shitty worlds of dreams

Shiny is the gold
That drips from the melting pots

Where wizards purify lead copper
Bronze and tones of yellow

Oh and the yellow tones of the sun
… Its green'

 

 

carrillion press release
View Lucy Ayling's 'story' about 'carrillion'

To: All Major Belgian, British, South African and Australian Newspapers
Date: 10/05/99
Care of: News and Art Editors
From: Argo Spier
Contact Address: nvt

It is a tribute to the little Belgian girls who were sexually abused or went missing in the years 1995-1996.

What stimulated the poem was the painting by Harriet Halbed(1850-1933),'The Little Girl at the Door', in the Royal Art Museum in Canterbury, and the murder of Thomas Becket in 1170. The poem will be donated to the museum for distribution. 50 schools and institutes across Europe, South Africa, New Zealand and Australia will receive copies. The Hope is that the poem will be found suitable for academic use as it deals with the dangers of pathological sick pedo-philiac relations. Distribution also via News Groups on Internet and various BBS. Newspapers may publish the poem. Argo Spier, born in Williston in South Africa, has published 8 major digitally collections of poems dealing with trust in relationships. Concepts such as 'Wallpaper Poetry' and 'Necro Poetica' are essential elements of his work and style. His latest publications are 'A Lovers Sundae Sarum' and 'Zinzli Came Home Albi'.

Introduction to carrillion

Who, when visiting Canterbury and flying on imagination's wings back to 1170, to the murder of Thomas Becket in this heavenly place, would not feel a surge of emotion. Faced with the stones of history, the mark of its continuity, one could not but associate the painting, Halbed's The Little Girl at the Door, in the Royal Art Gallery, with the world as it is today. As a visitor from Belgium, amidst the anticipatory rush of winter festivities, one had toreflect on those present-day girls, at yet another door, locked within doors, Julie, Melissa, Ann  and Efie and their sisters in suffering and death. History and beauty, the solitary figure in Halbed's painting, isolated from the bustling world by her misery; the cold, watching stones, a continuity in the human condition - two parallel lines that sometimes meet, in a ghastly deed or a moment's reflection.

'I dedicate the poem 'Free Carillion' to the little women to-be who were abducted, raped, murdered and buried in the backwardness of hidden houses on the soil of the fair Kingdom of Belgium in the terrible years of 1995-1996. My appreciation is for the Royal Art Gallery, Canterbury, where the painting The Little Girl at the Door by Harriet Halbed (1850-1933) found its proper immortal place'.

 

 

'slender strain' - publisher's note
ref. the Madrid cowardly train bombings

download full copy Slender Strain

Reference notes accompany the poetic additions inside the text of Slender Strain to their respective authors.

Slender Strain started off as a facilitator's attempt to generate creative writing at the cyber community Salty Dreams' Lounge. The thread posted was Poet needed to get in the car with me and comment and posted in February 2004. The first suggested title for Slender Strain was Responsible Young Driver. But as the story proceeded title change proved inevitable. First it became A!hora - Ourania's Drive. And then to Ourania's Drive And towards the end of the creative process it was changed again City Looking and a sub-title was added, Inside the Grid of a Writer's mind. In the 13th draft the title was changed yet again and became Slender Strain. The story was completed on the 11th of March 2004, the day extremists planted 13 bombs in Madrid, Spain killing 203 people, maiming and wounding 1200 others. The story of Slender Strain carries many references to Spain (and also to Catalan) and since Ourania really is of Mediterranean origin in the story, she usually answers the driver with a 'Si, of course!' This horrible cowardice in Spain came as a shock, both to the author and to the participants in the story. There was a hesitation, deciding whether to postpone the completion of the story as a form of solidarity with the victims, innocent mothers, children and working fathers. Since however the story of Slender Strain started off with a quote appealing to poetic nations and seekers of beauty the decision was quickly made. Beauty should reign over destruction. Terror shall not lead deprivation. Writing and the working with myths elevates culture to higher levels and prevails over indiscriminant, callous murder, especially when this murder is committed under the vague name of political aims or an idolized and pathetic god. Draft 12, the final draft before copy read, was completed the same day and the author commenced with drafts 13, 14 and 15.

Lastly, use was made of background material provided in Alone in all her sex (Vintage) by Marina Warner, Visiting Commoner at Trinity College, Cambridge. The author recommends the reading of it. -Ed., March 2004.

'...Like Byron, the traveller believes that 'there are words that are things', but unlike Byron, who 'has not found any yet', he forces words into things'.

 

 



patmos interview & writers past and present
download the 'patmos poems' in 'heaps of cream'

First I called them Patmos Poems then just 'Sea Poems', but now, with the heading 'Heaps of Cream', they are included in the poetic sequences collected under the title 'Blue Sweet' and form an introduction to it.

I am however not the first and only writer to have had these colour experiences on the island. In the first century after Christ, St. John, that great storyteller and father figure to many Europeans and orthodox believers around the world, already incorporated colour metaphors into his literature. In his Apocalypse, Chapter 21:19-20, which was written on the island during his banishment there, he used the metaphor of gemstones to describe the colours he experienced on Patmos: jasper, sapphire, chalcedony, emerald, sardonyx, sardius, chrysolyte, beryl, topaz, chrysoprasus, facinth and amethyst.
The colours do look like that on Patmos! He just wrote down what he saw. My Heaps of Cream was also simply a 'writing down' of the colour-experience. I couldn't have written it anywhere else in the world either. … But, talking of St. John's literature, my work is of course not in the least to be compared with the power and authority of his. There's only the 'Patmos connection' that creates any link between us. Whereas St. John reached out with his metaphors to reach every human soul on earth, I merely answered my own, and the 'mechanical droning' of colour as it 'drilled' itself into my soul. St. John's work is of such an unbelievably high quality and purity … oh, you should read it on Patmos when you are there! It's Greek and it's much more… as is the island!'

'...Whereas St. John reached out with his metaphors to reach every human soul on earth, I merely answered my own, and the 'mechanical droning' of colour as it 'drilled' itself into my soul. St. John's work is of such an unbelievably high quality and purity … oh, you should read it on Patmos when you are there! It's Greek and it's much more… as is the island!' '...the colours he experienced on Patmos: jasper, sapphire, chalcedony, emerald, sardonyx, sardius, chrysolyte, beryl, topaz, chrysoprasus, facinth and amethyst...'.

'...As with most of the Argo Spier projects it stressed the dialectical relationship between hearing and seeing, voice and sight, utterance and visual expression and exploits both media'

 

 

machines of art - living-in-a-story
download the full interview

From the Argo Spier Prague Interview 1997

'Poetry! You wanted to know what poetry is! The essence of it is! How can I explain: A poet is not conserned with this. His intrest lies somewhere else. Poems are signs, insider material, or at least, deconstructive insider palpations of words. They are constructed out of things that are resilient, interchangeable and descantable and dynamic in temperament. There is movement, transition, division and inclination in poetry. The thingness of words, the things poetry are contrived and structured from, is thewhere/what-it-is-all-about in poetry.'

'If I read a book and it makes my whole body so cold no fire can warm meknow that is poetry. If I feel physically as if the top of my head were taken off, I know that is poetry.' - Emily Dickinson

'Poems are signs, insider material, or at least, deconstructive insider palpations of words. They are constructed out of things that are resilient, interchangeable and descantable and dynamic in temperament. There is movement, transition, division and inclination in poetry. The thingness of words, the things poetry are contrived and structured from, is the where/what-it-is-all-about in poetry. It may sound presumptuous, but, poetry IS this very something which is asked about when the query touches on essentiality. Essence. Formulations and admixtures such as: 'What, Is, The, Essence, Of and Poetry' prove the point: the thingness. Six things (words) are structured in a convincing fabrication. Syntactic rhythm and semantic weight bestow definition, significance and message. A poem, any poem, always enlarges the question of what poetry is. It adds to the historical questioning memoire. 'Poetry, Is, Always, An, Art-historical, Quest, Into, Some, Dark and Region'. The search for essence is convoluted, perplexing and intricate. It is a quest into illogical ambiguity.

 

 

 

L.A. #andwerve interview
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A: Speaking of ideas of "self" and identity, what's with your name? Is it Belgian, or what

S: My ‘philosophy’ or even my ‘name’ is totally irrelevant. In fact my name is not my name at all. And the picture you see of me, well that’s me a year ago but it’s a blurred jpg and also made up out of zeros and ones and isn’t me. It is a time-framed historical moment captured in the ‘working’ life of a normal poet. It was taken in a restaurant somewhere in Catalonia about a year ago. People seem to recognise me from it. I like the vagueness in it though, that just out-of-focus ness. It blurs. And the name Argo Spier? It’s a concept. It is formed from 2 separate words, namely the original Greek word that has the connotation of ‘vessel’ and which in the Argonautica Myth has the deeper meaning of a ‘speaking vessel’. And then there’s the word ‘muscle’. ‘Spier’ is Dutch for a muscle. So Argo Spier basically means ‘Speaking vessel with a muscle’ and that’s what I had wanted to be. It's perfect for developing the idea of a biological apparatus that makes sounds, which is mydefinition of the Modern Poet.

A: [Laughs] It is impossible to be bored of you, I think, even if I don't quite understand everything you are saying. Now, this "biological apparatus" that seems central to your understanding of the poet's place in society. How does this biological apparatus differ from whatwould conventionally be conceived of as a "poet"?

S: To expand a little on the concept of the biological poet apparatus - ‘Biological’ doesn’t merely include the physical attributes of the individual; it also refers to the feeling part that has developed in the Hominid, the Homo sapiens since the Pleistocene. That part that people have mistaken as the last and final evolutionary step. But natural selection doesn’t work like that. It goes on and on. We are now incorporating computers into the development. And I am now not referring to the work of Darwin, The Origin of Species, or the work of George Elliot (Mary-Ann), but to the concepts of Teillard de Chardin. And apparatus? The ‘apparatus’ refers to something like a plug-and-play component docketed to a computer. The Modern Poet has surpassed paper and anthologies. He now scrolls his texts on screens. Oh, the poor publishers! Some are still locked into medieval levels of thought, thinking poetry can be sold and monies can be made from it. But this is another ambiguity in the long haul of Literature. The modern poet is merged with, and dependent on, the noughts and digital vertical strokes representing the numbers for 'off' and 'on.' As a biological-poet-apparatus he is a plug-and-player and he enters the collective thought of the Internet the moment he starts his computer. Now he becomes an organic live-thought entity and machine-like. And this process of ‘entering’ opens the hunt for a bigger body or another similar organic unit to merge with. He is a Cyprinid man-apparatus. A hand looking for a body to hang and work from. The poet, priest of old, the scribe; has hanged into tool and has become part of the collective unconscious of Cyber Virtuality. And there’s that tendency to enlarge and form a corporate in order to self-replicate digitally. And as he speaks in the vastness of the Cyber Intelligence the poet is a vessel for himself and for others that speak through him. In the Greek Myth, the search for the Golden Fleece was through the workings of the Argonauts, the speaking muscled vessels. In Cyber it's merely the imitation that counts. The tool.

A: My God, I think my head is spinning. So, I take it that the "new poet," this "biological apparatus," has his dwelling in Cyberspace (if we can, in fact, talk about this location in the physical terms used to described architecture). Tell me a little about the Cyberlair of the biological apparatus.

S: The real thing, and/or scene, is now the organic biological apparatus. The hype of the Cyborg is dead but the reality of the new communicative biological apparatus is here. And it’s a collective thing. And to refer to the Argoboat, it is Cyber culture sec that the new poet-scribe has become. We cannot do without it anymore but note that the concept ‘collective’ has several connotations that works on various levels. Firstly there is the flat reference of collective that has to do with being in a group. But then not a group as defined by an association of groupie insiders, something like the collectives of the 60ties or with their pseudo Neo Marxism. The second level of meaning derives from archetypical development of symbols. Here there is no goal and nothing is on the agenda re achievement. Except maybe communication through the exposure of the self as an ersatz. But I’m not going into this. This is too heavy and requires the live-literature processes of real-time to access.

A: That's ok, [laughs]. I'm sure our readers will understand. At least tell us a little bit, though, about the Argoboat cyber myth.

S: The Argoboat-with-its-biological-apparatuses is pure and merely a fresh interpretation of the global egoistic trait of self-interest. The self-interest of the individual in exposing himself. And it is designed in such a way that the group of poets selected, the collective, benefits by every hit the site registers. It's the poet’s self-interest to have his work exposed that generates the collective unconscious. Again, here we touch on the second level of the value of collectivism. On the boat we don’t even know each other’s locality. We just share central space. The poet-apparatus Argo Spier provides the space and does all the work. And the poetry onboard hasn’t got a ‘line,’ and doesn’t want to steer towards any statement at all. It's just there. And this works extremely well. It works so well that even you have searched me out to get an interview from me! I haven’t ‘seen’ you before but you are an apparatus too and are looking at a possible merge with me. The boat, the myth, is merely that what one takes out of it, as in myths the working procedure always is. You see in it what you see in it. The more the poets belonging to it use it for their own individual interest, the more the biological apparatus profits from it and becomes entity. Now the hand grows into an arm. Collective bodily apparatus' are the key units that form the cyber body of the collective unconscious and save the archetypical sources of civilization. Now that’s a steep statement, isn’t it? The point is that nobody can today a) stop this development and b) nobody can destroyit once it has formed its limbs and metamorphosed into a greater biological apparatus. The hand and arm want a shoulder and a torso. When will it grow its full body? How will the head look? Interesting questions though, no?

 

 



sampel four - closets and drawers
wallpaper poetry and the resurrection of 'old cold' words
colour pages project
avk paintings and graphic art
Argo Spier has worked together with the graphic artist AVK on a series of happenings. The colour Pages Projects was held in Ghent, Belgium in 1997 till 2000 and was an attempt to combine 'word' and 'picture', 'ear' and 'eye' in the dialectical relationship between 'hearing' and 'seeing', 'voice' and 'sight'. It combined 'utterance' and 'visual expression' and as 'a thing on its own' was creative expression tout court. As with most of the Argo Spier projects it stressed the dialectical relationship between hearing and seeing, voice and sight, utterance and visual expression and exploits both media.
visit the avk art galleries
opera lodge cafe
raam
haiku

 

 

RAAm, the explosion of modern human sound and the quest for meaning, communication and expression, was part of the Colour Pages project realised by ARGO SPIER and AVK in Ghent, Belgium. Colour Pages was commenced and presented to the public for the first time in 1996 and uses multi-media expression in the search for 'human feelings'. It was repeated in 1997 in Mechelen, Belgium at the International and European South Africa Fair and served as the basis for several throughout Europe.

It is a frail attempt, taking a small step in the direction of combining 'word' and 'picture', 'ear' and 'eye' and stresses the dialectical relationship between 'hearing' and 'seeing', 'voice' and 'sight', 'utterance' and 'visual expression'. download full copy Raam. ARGO SPIER describes in RAAm, with the use of ersatz haiku models, the physical journey of a lonely astronaut into Deep Space. He is a rather pathetic and self-willed extra-terrestrial being imitating an earthman travelling from his 'base' in 'no location' to the 'strange worlds of the stars'. On his way the lonely astronaut discovers the Earth and, like an Adam, he does his duty by naming the things he sees giving naďve meaning to existence and the fact of own being among the the 'things' he encounters. Like Byron, the traveller believes that 'there are words that are things', but unlike Byron, who 'has not found any yet', he forces words into things.

 

 

Press release general
wallpaper poetry storytelling

'The Art Editor of Argospier invites you to report on the work of the South African writer Argo Spier and AVK the Belgian graphic artist and lecturer at St Luke’s Art College in Ghent in Belgium. Collaboration between the two artists has in the past lead to various well recieved projects in Belgium and outside it, in its neighbouring countries. Art happenings such as 'Colour Pages,' 'RAAm,' 'Municipal Paint Opera Lodge Cafe' and 'Adieu Afric' are on their curriculum as well.

Download 'Green Muse Trying' FREE

A limited number of copies of ARGO SPIER's new book, 'Green Muse Trying' are published and will be distributed FREE of any charge in a number of European countries and South Africa and England. An interview with ARGO SPIER, born in Williston in the Great Karoo in South Africa, can also be arranged, in person or via video conferencing. As a pupil of N.P. van Wyk-Louw, ARGO SPIER's 'Wallpaper storytelling' style of writing is a continuation of the style of the 1920s writer Herman Charles Bosman, author of among others, 'Mafeking Road'.

go Spier and AVK in dialogue

obtain a 'complete works' zip-file FREE

Thank you for stopping by at my site.

 

 

 

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