{"id":18162,"date":"2021-11-03T19:54:14","date_gmt":"2021-11-03T20:54:14","guid":{"rendered":"https:\/\/museumofnonvisibleart.com\/authorsite\/?p=18162"},"modified":"2021-11-03T21:18:19","modified_gmt":"2021-11-03T21:18:19","slug":"amaranth-borsuk","status":"publish","type":"post","link":"https:\/\/museumofnonvisibleart.com\/authorsite\/amaranth-borsuk\/","title":{"rendered":"Amaranth Borsuk"},"content":{"rendered":"

\"\"Amaranth Borsuk<\/a>\u2019s work focuses on textual materiality\u2014from the surface of the page to the surface of language.<\/p>\n

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Her most recent projects are the chapbook\u00a0W\/SH: Initial Contact <\/a>(Above\/Ground, 2021), a speculative ecopoetic collaboration with Terri Witek;\u00a0The Book: 101 Definitions<\/a> <\/i>(Anteism, 2021), a collection of definitions of the book by artists, writers, scholars, librarians, and book artists; and Curt Curtal Sonnet Corona <\/a><\/i>(QPL, 2020), a printable chapbook of computer-generated curtal sonnets. Borsuk is also the author of\u00a0The Book<\/a>\u00a0<\/em>(MIT Press, 2018), a brief introduction to the book as object, content, idea, and interface published in the MIT Press Essential Knowledge series.<\/p>\n

Her books of poetry include\u00a0Pomegranate Eater<\/i><\/a>\u00a0(Kore Press, 2016),\u00a0\u00a0Handiwork<\/a><\/em>\u00a0(Slope Editions, 2012), selected by Paul Hoover for the 2011 Slope Editions Poetry Prize; and\u00a0Tonal Saw<\/i><\/a>\u00a0(The Song Cave, 2010), a chapbook-length erasure.\u00a0Abra<\/i><\/a>\u00a0(1913 Press, 2016), a book of mutating poems created with Kate Durbin, received an NEA-sponsored Expanded Artists\u2019 Books grant from the Center for Book and Paper Arts at Columbia College Chicago and was released as a limited-edition book with a free\u00a0iPad \/ iPhone app<\/a>\u00a0created by Ian Hatcher. The collaboration\u00a0As We Know\u00a0<\/i><\/a>(Subito Press, 2014), selected by Julie Carr for the Subito Prize, reshapes 60 entries from Andy Fitch\u2019s summer diary into a collective confessional\/constructivist collage that foregrounds the tensions of authorship.<\/p>\n

Collaboration and materiality are central to Borsuk\u2019s practice. Together with Brad Bouse, she created\u00a0Between Page and Screen<\/i><\/a>\u00a0(Siglio Press, 2012; Springgun Press, 2016), a book of augmented-reality poetry. It has been featured on Salon.com<\/a>, BrainPickings, Wired, and other media sites and has been exhibited widely. Through a grant from CT@Work and SiteProjects, Inc., Borsuk and Bouse completed\u00a0Whispering Galleries<\/i><\/a>\u00a0(2014), a site-specific interactive text work for the New Haven Free Public Libraries that uses the Leap gestural controller to invite visitors to brush the dust from a historic diary, revealing poems hidden within it. Borsuk\u2019s other digital collaborations include\u00a0Wave Signs<\/i>, an immersive sound installation with\u00a0Carrie Bodle<\/a>; and\u00a0The Deletionist<\/i><\/a>, an erasure bookmarklet created with\u00a0Nick Montfort<\/a>\u00a0and Jesper Juul.<\/p>\n

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Borsuk is currently an Associate Professor in the School of\u00a0Interdisciplinary Arts and Sciences<\/a>\u00a0at the University of Washington, Bothell, where she also serves as Associate Director of the\u00a0MFA in Creative Writing and Poetics<\/a>.\u00a0<\/span><\/p>\n

The book mentioned at the end of the interview was by Renee Gladman<\/a>:\u00a0Houses of Ravicka<\/a><\/div>\n
<\/div>\n
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Pomegranate Eater (Kore Press, 2016)<\/figcaption><\/figure>\n<\/div>\n
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The Book (MIT Press, 2018)<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Amaranth Borsuk\u2019s work focuses on textual materiality\u2014from the surface of the page to the surface of language. Her most recent projects are the chapbook\u00a0W\/SH: Initial Contact (Above\/Ground, 2021), a speculative ecopoetic collaboration with Terri Witek;\u00a0The Book: 101 Definitions (Anteism, 2021), a collection of definitions of the book by artists, writers, scholars, librarians, and book artists; […]<\/p>\n","protected":false},"author":3,"featured_media":16239,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[6],"tags":[],"class_list":{"0":"post-18162","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-interview","8":"entry"},"_links":{"self":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/18162","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/comments?post=18162"}],"version-history":[{"count":2,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/18162\/revisions"}],"predecessor-version":[{"id":18193,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/18162\/revisions\/18193"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/media\/16239"}],"wp:attachment":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/media?parent=18162"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/categories?post=18162"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/tags?post=18162"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}