peter ganick: a first little list of links

EPC page


Xexoxial Editions:




il 2017 di gammm

– damiano abeninathi. 2017 [23-02-2017 .it]

– boris achourgames whose rules i ignore. 2015 [02-03-2017]

– rosaire appel. ebook: sample book. 2017 [25-05-2017]

– anneke baetentwo asemics. 2017 [24-08-2017]

– john m. bennettfour works. 2017 [26-10-2017]

– volodymyr bilykthree poems. 2016 [12-01-2017]

– alighiero boettile pendu. 1977 [19-10-2017 .it]

– isacco boldini. ebook: lista d’attesa. 2016 [19-01-2017 .it]

– stan brakhagevisions in meditation 2. mesa verde. 1989 [27-04-2017]

– stan brakhagevisions in meditation 3. plato’s cave. 1990 [17-08-2017]

– stan brakhageunconscious london strata. 1981 [07-09-2017]

– ian breakwellepisode in a small town library. 1970 [30-11-2017]

– roberto cavallera. ebook: veleni e avvelenamenti. 2017 [12-10-2017 .it]

– justin delareux. ebook: actes-textes. 2017 [13-04-2017 .fr / .it]

– justin delareux. ebook: disposizioni. 2017 [08-06-2017]

– antonio de lucasequence 01. 2016 [01-01-2017]

– antonio de lucasiderofono. 2011 [16-02-2017]

– antonio de lucascultura sonora per ferro e ottone. 2009 [23-03-2017]

– adelin donnay. ebook: 18 works. 2017 [20-07-2017]

– peter ganick. from “notes toward infinity (1)”. 2017 [01-06-2017]

– peter ganick. from “notes toward infinity (2)”. 2017 [13-07-2017]

– giuseppe garreracenni di poesia visiva femminile. 2017 [30-03-2017 .it]

– john gerrardwestern flag. 2017 [05-10-2017]

– marco giovenaleriambientarsi (ma anche difendersi). 2012 [14-09-2017 .it]

– joseph kosuthtext/context. conventional I. 1978 [31-08-2017 .it]

– raven kwok1194D^3. 2013-17 [14-12-2017]

– fabio lapianail circo delle storie. 2012-2017 [15-06-2017]

– ugo la pietrala mia identità. 1974-75 [16-11-2017]

– ugo la pietraper oggi basta. 1974 [28-12-2017]

– jim leftwichtape transfer. 2006 [05-01-2017]

– jim leftwichsix months aint no sentence (book 3). 2011 [18-05-2017 .en]

– jim leftwich, andrew topelconcept. 2009 [16-03-2017]

– emiliano michelinidistonie (sonetti). 2017 [22-06-2017 .it]

– vanni santoni. ebook: alcune stanze / some rooms. 2016 [09-02-2017 .en]

– lucinda sherlocktwo asemics. 2017 [27-07-2017]

– gustav sjöbergzu der blühenden allmaterie (abbozzo). 2017 [21-12-2017 .en]

– miron tee2016 12 15 19 08 57 130. 2017 [06-04-2017 .en]

– miron teeasemic. 2010-2017 [23-11-2017]

– c. r. e. wells & letitia trentfrom “the body problem”. 2017 [21-09-2017]

– luca zaniniframmento ad uso di complemento. 2009 [09-03-2017 .it]

– luca zaninida: cinque conclusioni prima del tempo. 2013 [05-05-2017 .it]


…and more:

tristan perich: 1-bit symphony [11-05-2017], roberto chabet: to be continued [29-06-2017], tristan perich: density[06-07-2017], 10 minutes: george hautecourt unscrew the cap of the pen for ten hours [03-11-2017], “lettere grosse”: draft 01 [09-11-2017], , “lettere grosse”: draft 02 [07-12-2017]


ultra-abstraction in painting and drawing / Peter Ganick. 2015

UA is the taking-to-the-extreme of any of conventional abstraction’s principles.

the first aspect is that an UA picture will have no reference to any representational-reality and will, therefore, be totally non-representational as a totality though representational objects like color, language, form, variation, and all possible combinations of these aspects can be included.

it is not a parlor game, though it can have rules—all meant to be provisional and non-binding.

ultra-abstraction is not conceptual art—the art is in-the-object, not in-the-idea-of-the-object.

like all quality art, it must satisfy a certain visual quality i’ll call temporarily ‘having-character’.

this ‘having-character’ is a quality of the picture or the object primarily—how an artist’s personal development courses through his/her life UA is ‘considered’ and without doubt, has the most carefully planned importance.

this pre-planning is not from the beginning of the exemplar’s existence.

the best way to talk of this pre-planning is: choosing the parameters of the piece, namely the tools to be used—perhaps that would be enough.

if we’re talking of a painting, perhaps a palette to be used, a type of ground, a means to apply color, and any other means the artist deems important, for instance, some music to enhance creativity—anything to make the artist feel painterly.

compositional aspects are in ‘free-flow’—there is no ‘one [or many] true’ compositional form[s] that will be guaranteed to work successfully in the making of this art-form.

in some manner, UA, like the quality that makes any art-piece ‘of-quality’, cannot be taught.

unlike developing talent by ‘practice’, the sort of experimental aspect that comes into play in UA is more of a poetic, irrational quality.

‘free-flow’ in this case means, considering compositions as structures, any structure can be considered to have this ‘of-character’ quality, but how that is determined is of the utmost importance.

chaos is not UA, which has some intentional-inner-structure that is recognizable.

by ‘taking to the extreme’ and ‘poetic irrationality’ is meant the unplanned, accidental, surprise occurrence that can come up in a painting.]

these, most definitely, as not ‘errors’—rather are opportunities-for-changing-direction-in-the-painting’s-midstream, so to speak.

a simpler way would be to encourage on-the-spot-improvisation.

this is and has been all along the touch-stone of jazz-music.

one must be open to ’the moment’— in this case the pictorial/compositional moment.

so, throw away ideas of ‘balance’ as a sure-fire way to enhance a picture; but keep aware of color-values, so dark-medium and light work together in a new way.

what i mean when i wrote earlier of ‘poetic irrationality’ as a thought to have in-the-back-of-the-artist’s-mind when creating is probably the best way describe UA is free-flow composition with the spontaneous improvisational aspect of utmost importance—or—if it’s different that what’s been seen before, it is worth considering—not necessarily ‘of-character’ but worth considering.

the poet, ezra pound, told poets to ‘make it new’ while some wise people would say, ‘there’s nothing new under the sun’—  i do not claim to have an answer to the discussion but think it’s valuable to consider it.

differx + collabs @ otoliths #43


7 pieces by differx

Jim Leftwich & differx collab:

Peter Ganick & differx collab:


gioco (e) radar: introduzione + interventi 1-15 [indice della serie completa su alfabeta2]

a2Gioco (e) radar, a cura di MG


Un’introduzione a Gioco (e) radar, 11 gen. 2015:

Gioco (e) radar #01: Kenneth Goldsmith, 18 gen. 2015:

Gioco (e) radar #02: Prime critiche (?), 25 gen. 2015:

Gioco (e) radar #03: Glitch, alterazioni, disfunzioni [prima parte], 1 feb. 2015:

Gioco (e) radar #04: Glitch, alterazioni, disfunzioni [seconda parte: addenda politici], feb. 2015:

Gioco (e) radar #05: Asemic writing, 18 feb. 2015:

Gioco (e) radar #06: Elencazioni, non narrazioni, 22 feb. 2015:

Gioco (e) radar #07: Lo spazio si verbalizza, 1 mar. 2015:

Gioco (e) radar #08: Loose writing, 8 mar. 2015:

Gioco (e) radar #09: Scritture installative [prima parte], 15 mar. 2015:

Gioco (e) radar #10: Scritture installative [seconda parte], 22 mar. 2015:

Gioco (e) radar #11: Interruzioni / arresti [Due note sui Saggi di letteratura arrestata (Essais de littérature arrêtée) di Denis Roche], 29 mar. 2015:

Gioco (e) radar #12: La frase nuova, 5 apr. 2015:

Gioco (e) radar #13: Cambio di paradigma. Alcune annotazioni, 12 apr. 2015:

Gioco (e) radar #14: Indeterminazioni e prose di due autori (in)attuali [Prima parte: Hofmannsthal], 19 apr. 2015:

Gioco (e) radar #15: Indeterminazioni e prose di due autori (in)attuali [Seconda parte: Joyce], 26 apr. 2015:



gioco (e) radar #9: scritture installative (prima parte)

ger9-1continua qui: