robertogreco + poetry   426

Should Walt Whitman Be #Cancelled? | JSTOR Daily
"Black America talks back to “The Good Gray Poet” at 200."



"In 2013, Timothy McNair, a black, gay graduate student in music at Northwestern University, refused to perform Howard Hanson’s “Song of Democracy,” a musical piece with lyrics derived from Walt Whitman’s legendary poetry collection Leaves of Grass. In his writing beyond Leaves of Grass, McNair discovered racist comments in which Whitman refers to black people as “baboons” and “wild brutes” and questions their inclusion in the American body politic. As McNair said then, “I’m so tired of being forced to promote the myth of white supremacy by performing works by old white men like Whitman who said blacks were stupid, shouldn’t be allowed to vote, and didn’t have a place in the future of America.” The performance of “Song of Democracy” was part of a course requirement and McNair’s professor gave him a failing grade, jeopardizing his graduation. (He did eventually graduate after the controversy blew over.)

The charge of racism was particularly fraught because it was levied against Walt Whitman, the poet who in Leaves of Grass sang of American democracy as a project of radical inclusion, the poet who wrote about tending to the runaway slave, the poet who looked upon the enslaved person on the auction block and saw in them their generations of descendants, the poet who declared that the enslaved were the equal of those who enslaved them.

Shortly after the McNair controversy, poet CAConrad wrote “From Whitman to Walmart,” an essay dedicated to McNair that explains how much Whitman meant to them as a white working-class queer poet, and how Whitman’s racist comments forced them to reconsider, and reject, that admiration.

As for the substance of Whitman’s racism, George Hutchinson and David Drews, in an essay on Whitman’s “Racial Attitudes” reprinted at The Walt Whitman Archive, provide a helpful examination of Whitman’s thoughts on race later in his life. Like many white intellectuals, Whitman seems to have been seduced by the proliferation of racist pseudo-science in the post-Civil War era, a body of thought largely produced in reaction to black emancipation and the prospects of black citizenship rights as voters and office-holders. Whitman’s racism was not limited to black people, but also extended to Native Americans, Hispanics, and Asians. These comments force us to reconsider all those lovely passages in Leaves of Grass where Whitman the poet celebrates the “aboriginal” heritage of America. Whitman, the man, actually hoped that white Americans would absorb the naturalistic traits of Native Americans, but discard the actual people, much in the same way that contemporary sports fans now cling to their Native American mascots while dismissing living Native Americans who have repeatedly told them how these degrading, offensive caricatures contribute to ongoing Native oppression and disenfranchisement."



"So, what do we do with old Uncle Walt now? May 31, 2019, marks the 200th anniversary of his birth and there will be numerous conferences, exhibits, readings, and celebrations of the poet and his work. I submit that this is not a moment for uncritical celebration of the Poet of Democracy. But there is no better place to look for nuanced critical engagement with Whitman’s complicated legacy than in the work of black intellectuals who have talked back to Whitman. As Whitman scholar Ed Folsom writes, “the temptation to talk back to Walt Whitman has always been great, and poets over the years have made something of a tradition of it. There’s nothing quite like it anywhere else in English or American poetry—a sustained tradition, a century old, of directly invoking or addressing another poet.” And in that tradition of talking back to Whitman one finds names like Langston Hughes, June Jordan, Yusef Komunyakaa, and Natasha Trethewey."



"She provocatively uses genealogy as a concept throughout the essay, as reference to the brutal history of rape under enslavement, an allusion to the taboo intimacies of interracial desire despite the nation’s claims of segregation, and as a metaphor for literary influence. Jordan insists that Whitman, because of his queer outsider status, is “the one white father who shares the systematic disadvantages of his heterogenous offspring trapped inside a closet that is, in reality, as huge as the continental spread of North and South America.” By drawing out this distinction between Whitman and the other white fathers of American literature, Jordan clears a space for her own pleasure in Whitman’s work, and also refuses to allow an easy co-optation of Whitman by white Western canon-makers who rejected him in the first place.

June Jordan’s comments also bring to mind James Baldwin’s idea of bastardy as emblematic of the black American condition, that the black intellectual must find a way to use whatever material that she has been given, even the work of imperfect and problematic white fathers. In Notes of a Native Son Baldwin writes, “I know, in any case, that the most crucial time in my own development came when I was forced to recognize that I was a kind of bastard of the West… I would have to appropriate these white centuries. I would have to make them mine—I would have to accept my special attitude, my special place in this scheme—otherwise I would have no place in any scheme.”"



"Like June Jordan, I was also drawn to the queer outsider Whitman. As a New York City tour guide I fell for Whitman the flâneur, the man of the street, the one who saw value in this strange ballet of urban life, and who in poems like “To a Stranger” relished the sparks of intimacy that can happen on the crowded streets. (“Passing stranger! You do not know how longingly I look upon you.”) As a professor, I’ve taught Whitman in American Literature classes. I’ve taken my students on walks from our dingy building on Jay Street in downtown Brooklyn over to Brooklyn Bridge Park, where the old Fulton Ferry terminal once stood, where we read “Crossing Brooklyn Ferry” with the East River flowing beside us and the present day ferries docking and departing. I’ve always felt that Whitman predicted the explosion of hip-hop out of the streets of NYC when in the preface to Leaves of Grass he wrote about “the gangs of kosmos and prophets,” a new order of poets that “shall arise in America and be responded to from the remainder of the earth.” Who better fulfills that prophecy than American bards like Biggie, Jay-Z, and Nas? When I see lines from Whitman like, “I know perfectly well my own egotism/And know my omniverous words, and cannot say any less,” I hear the swagger and braggadocio of Kanye West who once said that “If you’re a Kanye West fan, you’re not a fan of me, you’re a fan of yourself.” (Speaking of problematic artists who needed to be “cancelled.”)

Look, “cancel culture” is not really a thing. The idea of “cancelling” someone is mostly a Twitter joke about checking certain problematic and powerful men who we know damn well aren’t going anywhere. That said, these conversations can be valuable if they lead us toward honest reckoning with the past, and honest reckoning with our culpability in the atrocities of the present. Reading the works of black intellectuals on Whitman shows that confronting Whitman’s racism is not about erasing Whitman. In fact, by talking back to Whitman, Timothy McNair was engaging in the very practice of communication across time and space that the poet himself encouraged in “Crossing Brooklyn Ferry,” though maybe he didn’t imagine the conversation would get so testy.

Black artists like June Jordan talk back to Whitman and talk back to America because they believe that America can choose a better self. As we celebrate the 200th anniversary of Whitman, I hope that we can celebrate him while also telling the truth about his flaws—and America’s flaws. As June Jordan says, “I too am a descendant of Walt Whitman. And I am not by myself struggling to tell the truth about this history of so much land and so much blood, of so much that should be sacred and so much that has been desecrated and annihilated boastfully.”"
waltwhitman  poetry  race  racism  2019  junejordan  lavelleporter  outsiders  queer  cancelculture  timothymcnair  jamesbaldwin  langstonhughes  yusefkomunyakaa  natashatrethewey  charlesglicksberg  christopherfreeburg  georgehutchison  daviddrews 
5 days ago by robertogreco
A Place of Rage - Wikipedia
"A Place of Rage is a 1991 film by Pratibha Parmar. The film includes interviews of Angela Davis, June Jordan, Trinh T. Minh-ha, and Alice Walker.[1] It discusses and asks for political action regarding racism and homophobia, linking the two issues together.[2] It was created to be aired on British television and it is 52 minutes long.[3]

The main interviews of Davis, Jordan, and Walker were filmed in the present day. Davis and Jordan discuss the effects of Rosa Parks, Fannie Lou Hamer, and other activists; as well as women's roles in black churches during the Civil Rights Movement and the outcome of the 1960s Black Power movement.[3] Parmar took a 1970 prison interview of Davis and intercuts scenes of poetry of June Jordan.[1] The documentary also uses music from the Staple Singers, Neville Brothers, and Janet Jackson as well as documentary scenes of the 1960s.[3]

The film title originates from how the interview subjects say there was a "place of rage" within black people in the 1960s where they collected anger from being oppressed and released it against the persons oppressing them. The interview subjects stated that by the 1990s this shifted to a sense of defeatism and internal repression characterized by drug use and resignation.[3]"

[on demand: https://vimeo.com/ondemand/aplaceofrage

"A PLACE OF RAGE, an exuberant award-winning documentary a film by Pratibha Parmar made its debut in 1991 yet it's content is still one of the richest and most cherished with interviews from Angela Davis, June Jordan and Alice walker. A celebration of the contributions and achievements of prominent African American women, the film features Angela Davis, June Jordan and Alice Walker. Within the context of civil rights, black power, lesbian and gay rights and the feminist movement, the trio reassesses how women like Rosa Parks and Fannie Lou Hamer revolutionized American society and the world generally.

‘A Place of Rage documents the lives and politics of three African-American women. Weaving a narrative of spiritual awakenings, political consciousness and poetry through powerful imagery of Angela Davis speaking, Alice Walker reading and June Jordan teaching, A Place of Rage works like a narrative poem. It takes is title from a statement from June Jordan where she tries to articulate how her poetry and her pedagogy emerges from a ‘place of rage” and builds into some other kind of articulation. The film is moving in its quiet intensity and fascinating in its portrait of three powerful Black artists.’
Judith Halberstam, Professor of English,Gender Studies and American Studies and Ethnicity USC.

Pick of the Week. L.A. Weekly July 1992
Winner of The Best Historical Documentary from the National Black Programming Consortium, 1992.

"This lyrical film begins the much needed exploration of the African-American women who sustained and inspired the Civil Rights Movement of the 60's. By shining an intimate light on some of our best known artists / activists Parmar eloquently reveals the power and poetry of the hidden faces. Her film is a visual embrace of who black women really are. " Jewelle Gomez

"A complex image is created of the times, its ideas, emotions, victories and losses...the kind of analysis historical documentaries on African American life sorely need." - Collis Davis, Afterimage"]

[via: https://finalbossform.com/post/184255759875/trinh-t-minh-ha-in-a-place-of-rage-1991-dir ]
pratibhaparmar  angeladavis  junejordan  trinhminh-ha  alicewalker  1991  racism  race  homophobia  rosapark  fannielouhamer  activism  civilrightsmovement  oppression  blackpower  civilrights  feminism  intersectionality  pedagogy  aplaceofrage  documentary  politics  poetry  blackpantherparty  blackpanthers 
5 days ago by robertogreco
#59 – Spring 2018 | Rattle: Poetry
[via: https://www.rattle.com/final-portrait-of-the-sudanese-by-dalia-elhassan/

"Dalia Elhassan

FINAL PORTRAIT OF THE SUDANESE

my parents sit side by side
in the half-light

two bodies, a half-world
away from me, singing

the way only sudanis know
how to.

[image: eDalia]

shuf al-zaman ya yuma
sayignee ba’eed khalas

look at this time, oh mama,
it’s taking me so far

on the uptown 6 train
my father—in sudan

—calls to ask us how we’re doing
are you okay? how’s your mother?

my mother, in the bronx,
waiting for her children

to come home,
to learn her mother’s language,

i swallowed two other languages
before downing my own

gutted my throat
of any accent

spent years tearing
up maps of africa

trying to rub the sandalwood
musk from behind my ears

i don’t bother to learn
the songs my parents sing,

instead i write poems,
about our hyphenated bodies

about the frankincense smoke
dancing on hot coal

about their hands
that never touch

and all the ways
i hardly recognize them.

—from Rattle #59, Spring 2018
Tribute to Immigrant Poets"
poetry  immigration  migration  poems  sudan  immigrants  memory  generations  loss 
10 days ago by robertogreco
Safia Elhillo | Poetry Foundation
"Safia Elhillo is the author of The January Children (University of Nebraska Press, 2017), which received the 2016 Sillerman First Book Prize for African Poets and a 2018 Arab American Book Award, and the chapbook The Life and Times of Susie Knuckles (2012). With Fatimah Asghar, she is co-editor of the anthology Halal If You Hear Me (Haymarket Books, forthcoming 2019).

Sudanese by way of Washington, DC, Elhillo earned a BA from NYU’s Gallatin School of Individualized Study and an MFA in poetry at the New School. Her work has appeared in several journals and anthologies, including The BreakBeat Poets: New American Poetry in the Age of Hip-Hop (2015) and Women of Resistance: Poems for a New Feminism (2018).

Elhillo was a founding member of Slam NYU, the 2012 and 2013 national collegiate championship team, and was a three-time member and former coach of the DC Youth Slam Poetry team. Her work has been translated into several languages and commissioned by Under Armour and the Bavarian State Ballet. A Cave Canem fellow, she is the co-winner of the the 2015 Brunel International African Poetry Prize, and has been listed in Forbes Africa's "30 Under 30." In 2018, Elhillo was awarded a Ruth Lilly and Dorothy Sargent Rosenberg Poetry Fellowship from the Poetry Foundation."

[See links to poems, prose, etc. at bottom.]

[See also:
http://safia-mafia.com/

and an interview
https://www.poetryfoundation.org/podcasts/146767/safia-elhillo-vs-shame ]
safiaelhillo  poetry  poems 
19 days ago by robertogreco
Poems of Muslim Faith and Islamic Culture | Poetry Foundation
"A collection of poems, prose, and audio and video recordings that explore Islamic culture.


These poems and features examine Muslim faith and Islamic culture and address important events, holidays, and occasions such as Ramadan. These poets explore a range of spiritual, literary, and political concerns from the 6th century to the present day. Some poets’ voices emerge from the East (Mahmoud Darwish and Saadi Youssef), others from the West (June Jordan and Thomas Merton). Most turn to poetry as the ideal forum to complicate simplistic East-West divisions—learning, questioning, sparking cultural conversation, and speaking from what Nomi Stone calls “[t]his quiet voice that is borrowed or my own.”"
islam  poetry  poems  prose  audio  video 
19 days ago by robertogreco
Muni Poetry - Hooray for the Buses (36 Teresita) | Arts and Culture | thebaycitybeacon.com
"Hooray for the Buses (36 Teresita)

“Hooray for the Buses” was the title of a flyer the Miraloma Park Improvement Club distributed in advance of the opening of a new bus line in the neighborhood.

Your first inbound stop
is the same first stop
for inbound babies
at St Luke's Maternity ward.
Same terminal transfer point to under hill
as folks outbound at Laguna Honda too.

Your first operator was the Mayor
and your inauguration followed
in the wake of a marching
Drum Corps, Bugle Corps,
Parkside Post Legion plus the Municipal Band
and a bicycle parade.

A panoramic drive,
sometimes Sutro fills your windscreen,
a city view, a sea view, a sky view,
cross over Portola, snake
along your namesake street
or in daylight climb a prominent spur.

Teresita you keep secrets too,
an old name and an old number,
a secret stop you almost always skip.
In eighty years what whispers
have you heard but buried
under a blanket of fog?

Ply the highest prominences of the City,
Twin Peaks and Mount Davidson and Mount Sutro.
Serve spectacular scenes but also
connect neighborhoods and
humbly serve daily passengers,
commuters still need to get to work.

A young boy might be riding to school,
An elder may need to get to the doctor,
A pilgrim may need to get to the cross,
A wedding party is going to the conservatory,
be right on time for their transfers!
This is not your last stop."

[See also:

"Muni Poetry: Spectacle of the Turn (33 Stanyan)"
https://www.thebaycitybeacon.com/culture/muni-poetry-spectacle-of-the-turn-stanyan/article_193daebe-4f43-11e9-bcff-13b286542f0f.html

"Muni Poetry - Sky Line (25 Treasure Island)"
https://www.thebaycitybeacon.com/culture/muni-poetry---sky-line-treasure-island/article_8f1a21bc-4999-11e9-9cc0-2b8a1c3a9246.html

"Muni Poems - 37 Corbett"
https://www.thebaycitybeacon.com/culture/muni-poems---corbett/article_fa98f746-443b-11e9-9d03-e7ed732b8a57.html

"This is Just to Say (38 Geary)"
https://twitter.com/BayCity_Beacon/status/1105838429739208704 ]
muni  36teresita  buses  sanfrancisco  publictransit  2019  poetry  38geary  37corbett  33stanyan  25treasureisland  classideas  poety  poems  mcallen 
20 days ago by robertogreco
Language Is Migrant - South Magazine Issue #8 [documenta 14 #3] - documenta 14
"Language is migrant. Words move from language to language, from culture to culture, from mouth to mouth. Our bodies are migrants; cells and bacteria are migrants too. Even galaxies migrate.

What is then this talk against migrants? It can only be talk against ourselves, against life itself.

Twenty years ago, I opened up the word “migrant,” seeing in it a dangerous mix of Latin and Germanic roots. I imagined “migrant” was probably composed of mei, Latin for “to change or move,” and gra, “heart” from the Germanic kerd. Thus, “migrant” became “changed heart,”
a heart in pain,
changing the heart of the earth.

The word “immigrant” says, “grant me life.”

“Grant” means “to allow, to have,” and is related to an ancient Proto-Indo-European root: dhe, the mother of “deed” and “law.” So too, sacerdos, performer of sacred rites.

What is the rite performed by millions of people displaced and seeking safe haven around the world? Letting us see our own indifference, our complicity in the ongoing wars?

Is their pain powerful enough to allow us to change our hearts? To see our part in it?

I “wounder,” said Margarita, my immigrant friend, mixing up wondering and wounding, a perfect embodiment of our true condition!

Vicente Huidobro said, “Open your mouth to receive the host of the wounded word.”

The wound is an eye. Can we look into its eyes?
my specialty is not feeling, just
looking, so I say:
(the word is a hard look.)
—Rosario Castellanos

I don’t see with my eyes: words
are my eyes.
—Octavio Paz

In l980, I was in exile in Bogotá, where I was working on my “Palabrarmas” project, a way of opening words to see what they have to say. My early life as a poet was guided by a line from Novalis: “Poetry is the original religion of mankind.” Living in the violent city of Bogotá, I wanted to see if anybody shared this view, so I set out with a camera and a team of volunteers to interview people in the street. I asked everybody I met, “What is Poetry to you?” and I got great answers from beggars, prostitutes, and policemen alike. But the best was, “Que prosiga,” “That it may go on”—how can I translate the subjunctive, the most beautiful tiempo verbal (time inside the verb) of the Spanish language? “Subjunctive” means “next to” but under the power of the unknown. It is a future potential subjected to unforeseen conditions, and that matches exactly the quantum definition of emergent properties.

If you google the subjunctive you will find it described as a “mood,” as if a verbal tense could feel: “The subjunctive mood is the verb form used to express a wish, a suggestion, a command, or a condition that is contrary to fact.” Or “the ‘present’ subjunctive is the bare form of a verb (that is, a verb with no ending).”

I loved that! A never-ending image of a naked verb! The man who passed by as a shadow in my film saying “Que prosiga” was on camera only for a second, yet he expressed in two words the utter precision of Indigenous oral culture.

People watching the film today can’t believe it was not scripted, because in thirty-six years we seem to have forgotten the art of complex conversation. In the film people in the street improvise responses on the spot, displaying an awareness of language that seems to be missing today. I wounder, how did it change? And my heart says it must be fear, the ocean of lies we live in, under a continuous stream of doublespeak by the violent powers that rule us. Living under dictatorship, the first thing that disappears is playful speech, the fun and freedom of saying what you really think. Complex public conversation goes extinct, and along with it, the many species we are causing to disappear as we speak.

The word “species” comes from the Latin speciēs, “a seeing.” Maybe we are losing species and languages, our joy, because we don’t wish to see what we are doing.

Not seeing the seeing in words, we numb our senses.

I hear a “low continuous humming sound” of “unmanned aerial vehicles,” the drones we send out into the world carrying our killing thoughts.

Drones are the ultimate expression of our disconnect with words, our ability to speak without feeling the effect or consequences of our words.

“Words are acts,” said Paz.

Our words are becoming drones, flying robots. Are we becoming desensitized by not feeling them as acts? I am thinking not just of the victims but also of the perpetrators, the drone operators. Tonje Hessen Schei, director of the film Drone, speaks of how children are being trained to kill by video games: “War is made to look fun, killing is made to look cool. ... I think this ‘militainment’ has a huge cost,” not just for the young soldiers who operate them but for society as a whole. Her trailer opens with these words by a former aide to Colin Powell in the Bush/Cheney administration:
OUR POTENTIAL COLLECTIVE FUTURE. WATCH IT AND WEEP FOR US. OR WATCH IT AND DETERMINE TO CHANGE THAT FUTURE
—Lawrence Wilkerson, Colonel U.S. Army (retired)


In Astro Noise, the exhibition by Laura Poitras at the Whitney Museum of American Art, the language of surveillance migrates into poetry and art. We lie in a collective bed watching the night sky crisscrossed by drones. The search for matching patterns, the algorithms used to liquidate humanity with drones, is turned around to reveal the workings of the system. And, we are being surveyed as we survey the show! A new kind of visual poetry connecting our bodies to the real fight for the soul of this Earth emerges, and we come out woundering: Are we going to dehumanize ourselves to the point where Earth itself will dream our end?

The fight is on everywhere, and this may be the only beauty of our times. The Quechua speakers of Peru say, “beauty is the struggle.”

Maybe darkness will become the source of light. (Life regenerates in the dark.)

I see the poet/translator as the person who goes into the dark, seeking the “other” in him/herself, what we don’t wish to see, as if this act could reveal what the world keeps hidden.

Eduardo Kohn, in his book How Forests Think: Toward an Anthropology Beyond the Human notes the creation of a new verb by the Quichua speakers of Ecuador: riparana means “darse cuenta,” “to realize or to be aware.” The verb is a Quichuan transfiguration of the Spanish reparar, “to observe, sense, and repair.” As if awareness itself, the simple act of observing, had the power to heal.

I see the invention of such verbs as true poetry, as a possible path or a way out of the destruction we are causing.

When I am asked about the role of the poet in our times, I only question: Are we a “listening post,” composing an impossible “survival guide,” as Paul Chan has said? Or are we going silent in the face of our own destruction?

Subcomandante Marcos, the Zapatista guerrilla, transcribes the words of El Viejo Antonio, an Indian sage: “The gods went looking for silence to reorient themselves, but found it nowhere.” That nowhere is our place now, that’s why we need to translate language into itself so that IT sees our awareness.

Language is the translator. Could it translate us to a place within where we cease to tolerate injustice and the destruction of life?

Life is language. “When we speak, life speaks,” says the Kaushitaki Upanishad.

Awareness creates itself looking at itself.

It is transient and eternal at the same time.

Todo migra. Let’s migrate to the “wounderment” of our lives, to poetry itself."
ceciliavicuña  language  languages  words  migration  immigration  life  subcomandantemarcos  elviejoantonio  lawrencewilkerson  octaviopaz  exile  rosariocastellanos  poetry  spanish  español  subjunctive  oral  orality  conversation  complexity  seeing  species  joy  tonjehessenschei  war  colinpowell  laurapoitras  art  visual  translation  eduoardokohn  quechua  quichua  healing  repair  verbs  invention  listening  kaushitakiupanishad  awareness  noticing  wondering  vicentehuidobro  wounds  woundering  migrants  unknown  future  potential  unpredictability  emergent  drones  morethanhuman  multispecies  paulchan  destruction  displacement  refugees  extinction  others  tolerance  injustice  justice  transience  ephemerality  ephemeral  canon  eternal  surveillance  patterns  algorithms  earth  sustainability  environment  indifference  complicity  dictatorship  documenta14  2017  classideas 
4 weeks ago by robertogreco
An Essay by Miho Nonaka | Kenyon Review Online
[So good. There's really no good way to quote this one, so here are just a few sections.]

"Heavenly Worm

Mrs. Itō, our fourth-grade teacher, drew a new kanji character on the board: 蚕. “Worm from heaven,” she announced, “as you can see.” Heaven splits open like a curtain (天) and inside it dwells the worm (虫). For each student, she took out five worms from her basket and put them in a small paper box to take home. Having just hatched from their eggs, these worms were still covered in little black hairs. That’s why at this stage they are called kego (hairy baby), Mrs. Itō told us. To feed these dark babies, julienne your mulberry leaves first."



"Platinum Boy, 2006

After decades of research, Japanese silkworm breeders discovered a reliable method of hatching exclusively male silkworms. Female silkworms eat more, sleep more, take up more space, and are measurably less efficient in transforming mulberry leaves into silk. The verdict was clear: female silkworms are inferior for silk production.

Silk spinners and kimono weavers are unanimous in their praise of male silk: their thread is consistently finer, sturdier, glossier, whiter, and their cocoons are easier to harvest when boiled.

The birth site of Platinum Boy is literally black and white. When you look at a piece of paper where silkworm eggs are laid, white eggs are the empty shells from which male larvae have already hatched. They will thrive on the diet of tender mulberry shoot which, combined with their spit, will eventually turn into raw silk, translucent like frosted glass. The dark eggs contain female larvae that will never hatch and only keep darkening."



"Ten Thousand Leaves I

Compiled in the mideighth century, Man’yōshū (Collection of Ten Thousand Leaves) is the oldest Japanese anthology: more than forty-five hundred poems in twenty books. In the sweltering heat of the attic, I wasn’t looking for any particular motif when I happened on poem No. 2495, composed by Kakinomoto no Hitomaro, a low rank courtier and one of the “Saints of Japanese Poetry”:
like my mother’s
silkworms confined
inside cocoons,
how can I see my love
who lives secluded at home?

Poem No. 2991 is almost the same poem by another poet, simply tagged “unknown”:
like my mother’s
silkworms confined
inside cocoons,
sadness clouds my heart
when I cannot see her

The motif of a silk cocoon as the inaccessible, lyrical interior goes back to the dawn of Japanese poetics. The cocoon encases the image of the beloved, the poet’s longing that keeps building inside, and in my poem it holds the mother as a mythical seamstress, stitching blue in each wrist of her unborn daughter."



"職人 I

I used to blame my grandmother on my father’s side, who was described to me as fierce, frantic, funny, a destructive visionary and unsuccessful business entrepreneur during the critical times of the Second World War. When I felt defeated by the radical pull of my own emotion, I would attach them to the face of the woman I had never met in person, only in a fading picture where she stands next to my young father without glasses, still a student with surprisingly gentle eyes.

My father recently told me during one of our late-night international calls from Tokyo: “Your grandfathers were both shokunin (craftsman), remember? It’s in your DNA, too.” His father had come from a large family of silk farmers. After he left home, adopting the newly introduced Singer sewing machines, he began manufacturing Japanese cloven-toed socks, the traditional kind that used to be hand-sewn, and during the war, he took the assignment to sew parachutes for the Imperial Japanese Army Air Force. While he worked under dimmed light, my young father put up his primitive drawing of warplanes on the wall, covered in fine grains of sand."



"Small Things

They say (I love the convenience, but who are “they”?) that attention to detail is a characteristic of the Japanese. I am drawn to small things: tadpoles, silica beads, star sands in a vial, a notebook the size of a thumbnail, fish scales, a nativity scene inside half a walnut shell. I am terribly myopic like my father, and I like things that are near. Large things loom over and terrify: airports, Costco, churches in Texas, the Tokyo Skytree, Mount Rushmore (those granite faces I once believed had surfaced in response to the historic atomic bombing), and that elusive word “global.”"



"Komako

It didn’t occur to me until I tried translating a few passages from Snow Country that the young geisha’s name Komako (駒子) means Pony Child. What inspired the author Kawabata to portray his heroine as a woman of equine grace? We don’t know her family name. On the other hand, we don’t know the first name of Shimamura, who is referred to only by his last name.

I imagine if your family name is a gate to the house, your first name must be its interior. In the days when the first book of Man’yōshū was composed, asking a maiden’s first name was synonymous with proposing to her. Knowing it meant possessing the person.

Komako’s body is translucent like a silkworm, and an unearthly room encloses her fruitless passion like a white cocoon. While writing Snow Country, Kawabata says he distanced himself from Shimamura, who serves merely as a foil to Komako. “As an author, I entered deep inside the character of Komako, but casually turned my back to Shimamura,” he writes in the afterward. “Especially in terms of emotion—Komako’s sadness is nothing other than my own sadness. . . .” And so it is; his heart has become subsumed into her heart."



"Body

I find it impossible to talk about the body (mine and everyone else’s) without sounding embarrassed or oddly distant. I don’t mean to self-deprecate, but it has been almost too fashionable, too charged a topic for me to feel safe around. (A cowardly thing to say—the truth is, no one is safe.)

I won’t pretend my body is a plain blockhouse, or a slab of flesh aching with desire or lack thereof. Who could have taught me to stay at home in my own body all the while I traveled from one country to another, turning from the spontaneous, if careless, music of my mother tongue to the cautious economy of English, reaching out, in the hope of actually reaching and being reached?

For the subjects most critical to me, I find no teachers. Perhaps there is not enough demand? I believe I am badly behind everyone and that I missed an opportunity to ask questions long ago. People my age in this country sound fluent in the body, discussing it with just the right amount of sarcasm and laughter without revealing much, like they have been on intimate terms with it since they learned to speak. I suppose I should have listened to the body harder, without ulterior motives."
mihononaka  silk  essays  canon  howwewrite  2017  silkworms  multispecies  japan  japanese  language  gender  via:ayjay  poetry  writing  fabric  textiles  srg  glvo  insects  history  cocoons  craft  translation  languages  childhood  change  materials  process  form  details  weaving  texture  morethanhuman  shinto  bodies  body  small  slow 
9 weeks ago by robertogreco
The Creative Independent: Jonas Mekas on documenting your life
"Were you ever interested in writing a straightforward memoir about your life?

I don’t have time for that. There are fragments of that in this book, but I think my films are my biography. There are bits and fragments of my personal life in all of my films, so maybe someday I’ll put them together and that will be my autobiography."



"People talk a lot about your films, but you have a poetry practice as well.

Occasionally I still write poems. It comes from a different part of me. When you write, of course it comes from your mind, into your fingers, and finally reaches the paper. With a camera, of course there is also the mind but it’s in front of the lens, what the lens can catch. It’s got nothing to do with the past, but only the image itself. It’s there right now. When you write, you could write about what you thought 30 years ago, where you went yesterday, or what you want for the future. Not so with the film. Film is now.

Are most of your decisions intuitive? Is it a question of just feeling when something is right or when it isn’t?

I don’t feel it necessarily, but it’s like I am forced—like I have to take my camera and film, though I don’t know why. It’s not me who decides. I feel that I have to take the camera and film. That is what’s happening. It’s not a calculated kind of thing. The same when I write. It’s not calculated. Not planned at all. It just happens. My filmmaking doesn’t cost money and doesn’t take time. Because one can always afford to film 10 seconds in one day or shoot one roll of film in a month. It’s not that complicated. I always had a job of one kind of other to support myself because I had to live, I had to eat, and I had to film.

How do you feel about art schools? Is being an artist something that can be taught?

I never wanted to make art. I would not listen to anybody telling me how to do it. No, nobody can teach you to do it your way. You have to discover by doing it. That’s the only way. It’s only by doing that you discover what you still need, what you don’t know, and what you still have to learn. Maybe some technical things you have to learn for what you really want to do, but you don’t know when you begin. You don’t know what you want to do. Only when you begin doing do you discover which direction you’re going and what you may need on the journey that you’re traveling. But you don’t know at the beginning.

That’s why I omitted film schools. Why learn everything? You may not need any of it. Or while you begin the travel of the filmmaker’s journey, maybe you discover that you need to know more about lighting, for instance. Maybe what you are doing needs lighting. You want to do something more artificial, kind of made up, so then you study lights, you study lenses, you study whatever you feel you don’t know and you need. When you make a narrative film, a big movie with actors and scripts, you need all that, but when you just try to sing, you don’t need anything. You just sing by yourself with your camera or with your voice or you dance. On one side it is being a part of the Balanchine, on the other side it is someone dancing in the street for money. I’m the one who dances in the street for money and nobody throws me pennies. Actually, I get a few pennies… but that’s about it.

You’ve made lots of different kinds of films over many years. Did you always feel like you were still learning, still figuring it out as your went along?

Not necessarily. I would act stupid sometimes when people used to see me with my Bolex recording some random moment. They’d say, “What is this?” I’d say, “Oh nothing, it’s not serious.” I would hide from Maya Deren. I never wanted her to see me filming because she would say, “But this is not serious. You need a script!” Then I’d say, “Oh, I’m just fooling. I’m just starting to learn,” but it was just an excuse that I was giving, that I’m trying to learn. I always knew that this was more or less the materials I’d always be using. I was actually filming. There is not much to learn in this kind of cinema, other than how to turn on a camera. What you learn, you discover as you go. What you are really learning is how to open yourself to all the possibilities. How to be very, very, very open to the moment and permitting the muse to come in and dictate. In other words, the real work you are doing is on yourself."



"You are a kind of master archivist. I’m looking around this space—which is packed with stuff, but it all appears to be pretty meticulously organized. How important is it to not only document your work, but to also be a steward of your own archives.

You have to. For me there is constantly somebody who wants to see something in the archives, so I have to deal with it. I cannot neglect them. These are my babies. I have to take care of them. I learned very early that it’s very important to keep careful indexes of everything so that it helps you to find things easily when it’s needed. For example, I have thousands of audio cassettes, in addition to all the visual materials. I have a very careful index of every cassette. I know what’s on it. You tell me the name of the person or the period and I will immediately, within two or three minutes, be able to retrieve it. People come here and look around and say, “Oh, how can you find anything in this place?” No, I find it very easily.

I always carry a camera with me in order to capture or record a couple images and sometimes conversations. Evenings, parties, dinners, meetings, friends. Now, it’s all on video, but back when I was using the Bolex camera, I always had a Sony tape recorder in my pocket—a tiny Sony and that picked up sounds. I have a lot of those from the ’60s, ’70s, ’80s. Hundreds and hundreds. I have books which are numbered, each page has written down what’s on each numbered cassette. I don’t index everything, that would be impossible, but approximation is enough. I advise everyone to do this. Record things. Keep an index. It’s very important."



"Aside from all of those projects, do you still have a sort of day-to-day creative practice?

I never needed a creative practice. I don’t believe in creativity. I just do things. I grew up on a farm where we made things, grew things. They just grow and you plant the seeds and then they grow. I just keep making things, doing things. Has nothing to do with creativity. I don’t need creativity."



"And the last remaining company that still made VCRs recently went out of business.

So, all of this new technology, it’s okay for now… but it’s very temporary. You could almost look at it from a spiritual angle. All technology is temporary. Everything falls to dust anyway. And yet, you keep making things."
jonasmekas  2017  film  filmmaking  poetry  documentation  archives  collage  books  writing  creativity  howwewrite  biography  autobiography  art  work  labor  technology  video  vcrs  temporary  ephemeral  ephemerality  making  howwework  howwemake  journals  email  everyday 
11 weeks ago by robertogreco
Center for the Art of Translation | Two Lines Press
"MISSION

The Center for the Art of Translation champions literary translation.

We are dedicated to finding dazzling new, overlooked, and underrepresented voices, brought into English by the best translators, and to celebrating the art of translation. Our publications, events, and educational programming enrich the library of vital literary works, nurture and promote the work of translators, build audiences for literature in translation, and honor the incredible linguistic and cultural diversity of our schools and our world.

HISTORY

The Center for the Art of Translation, a 501(c)(3) nonprofit organization based in San Francisco, was founded in 2000 by Olivia Sears, an Italian translator and editor who serves as the Center’s board president. In 1993, prior to forming the Center, Sears helped to establish the literary translation journal Two Lines: World Writing in Translation at a time when there were very few venues for translated literature in English, and those handful rarely paid much attention to the translator beyond a brief acknowledgment. Two Lines set out to challenge that trend—to make international literature more accessible to English-speaking audiences, to champion the unsung work of translators, and to create a forum for translators to discuss their craft. In this way, Two Lines serves as the Center’s cornerstone, and the journal’s spirit radiates through all of the Center’s work today.

OUR PROGRAMS

Two Lines Press is an award-winning press committed to publishing outstanding literature in translation.

With the rich publication history of Two Lines serving as its foundation, Two Lines Press specializes in exceptional new writing and overlooked classics that have not previously been translated into English. With books such as Naja Marie Aidt’s Baboon (translated by Denise Newman), which won the 2015 PEN Translation Prize, and Marie NDiaye’s Self-Portrait in Green (translated by Jordan Stump), which won the 2015 CLMP Firecracker Award, Two Lines Press seeks to publish daring and original voices in striking editions.

The biannual journal Two Lines amplifies the aims of the press by capturing the most exciting work being done today by the world’s best translators—and by forging a space to celebrate the art of translation. Within our pages you’ll find work by writers such as Yuri Herrera, Kim Hyesoon, Christos Ikonomou, Rabee Jaber, Emmanuel Moses, Anne Parian, Chika Sagawa, Enrique Vila-Matas, and Jan Wagner—in translations by Lisa Dillman, Don Mee Choi, Karen Emmerich, Kareem Abu-Zeid, Marilyn Hacker, Emma Ramadan, Sawako Nakayasu, Margaret Jull Costa, and David Keplinger, respectively. You’ll also encounter arresting insights on language, literature, and translation from the point of view of writers such as Lydia Davis, Johannes Göransson, Wayne Miller, and Jeffrey Yang.

***

The Two Voices event series hosts international writers and translators for original and provocative conversations about literature and language.

Recent events include Yoshimasu Gozo in conversation with Forrest Gander, Best Translated Book Award-Winner Yuri Herrera in conversation with Daniel Alarcón, Eka Kurniawan in conversation with Annie Tucker, Horacio Castellanos Moya in conversation Katherine Silver, and Malena Mörling in conversation with Pulitzer Prize-Winner and former Poet Laureate Robert Hass.

For our salon series we speak with superior translators, many of whom join us via Skype from far beyond the Bay Area, about their work. Recent conversations have featured Chris Andrews on César Aira, Bela Shayevich on Nobel Prize-Winner Svetlana Alexievich, Ottilie Mulzet on International Man Booker Prize-Winner László Krasznahorkai, Ann Goldstein and Michael Reynolds on the ineffable Elena Ferrante, and Valerie Miles on Enrique Vila-Matas.

Whenever possible, we offer post-event audio online.

***

Poetry Inside Out is a collaborative language arts curriculum that celebrates classroom diversity, builds literacy skills, improves critical thinking, and unlocks creativity by teaching students to translate great poetry from around the world.
As a cross-cultural literacy program, Poetry Inside Out embraces—and relies upon—cultural and linguistic differences in classrooms in schools. It is also a world literature program that treats great poets as teachers and their work as models.

Students who participate in Poetry Inside Out come to understand how close reading heightens comprehension, precise writing enhances communication, and attentive listening builds new knowledge. By practicing the art of translation, students become familiar with the building blocks of language and the full range of expression available to them as readers, writers, speakers, poets, thinkers, and world citizens. Student translations reflect profound responses to language, society, and one another’s personal experiences."
translation  sanfrancisco  poetry  literture  language  events  srg 
12 weeks ago by robertogreco
Waiting for Happiness by Nomi Stone - Poems | Academy of American Poets
"Dog knows when friend will come home
because each hour friend’s smell pales,
air paring down the good smell
with its little diamond. It means I miss you
O I miss you, how hard it is to wait
for my happiness, and how good when
it arrives. Here we are in our bodies,
ripe as avocados, softer, brightening
with latencies like a hot, blue core
of electricity: our ankles knotted to our
calves by a thread, womb sparking
with watermelon seeds we swallowed
as children, the heart again badly hurt, trying
and failing. But it is almost five says
the dog. It is almost five."
poems  poetry  morethanhuman  multispecies  human-animalrelations  human-animalrelationships  dogs  pets  nomistone  relationships 
december 2018 by robertogreco
Frankétienne, Father of Haitian Letters, Is Busier Than Ever - The New York Times
"Frankétienne has had prophecies of death (his own) and destruction (Haiti’s).

The earthquake that wrecked this country in January 2010? It was foreseen, said Frankétienne, the man known as the father of Haitian letters, in his play “The Trap.” It was written two months before the disaster and depicts two men in a postapocalyptic landscape, now a familiar sight in his Delmas neighborhood here.

“The voice of God spoke to me,” said Frankétienne, 75, later noting he had also long dwelt on the ecological ruin he believes the planet is hurtling toward. As for his death, that will come in nine years, in 2020, he says, at age 84. He is not sick, he says, but he has learned to “listen to the divine music in all of us.”

And so the prolific novelist, poet and painter — often all three in a single work — hears his coda. He is vowing to complete a multivolume memoir “before I leave, physically,” while keeping up an increasingly busy schedule of exhibitions and conferences.

“I am going to talk about everything I have seen from age 5 or 6,” he said recently at his house-cum-museum and gallery. “And stuff that hasn’t happened yet because I am a prophet.”

Eccentric. Abstract. A “spiralist,” who rejects realism and embraces disorder. Frankétienne — he combined his first and last names years ago — embraces chaos as a style he believes befits a country with a long, tumultuous history birthed in a slave revolt more than 200 years ago and scarred by a cascade of natural and man-made disasters.

In chaos he finds order.

“I am not afraid of chaos because chaos is the womb of light and life,” he said, his baritone voice rising as it does when he gets worked up over a point. “What I don’t like is nonmanagement of chaos. The reason why Haiti looks more chaotic is because of nonmanagement. In other countries it is managed better. Haiti, they should take as reference for what could happen in the rest of world.”

Scholars widely view Frankétienne as Haiti’s most important writer. He wrote what many consider the first modern novel entirely in Haitian Creole, “Dezafi,” in 1975, and a play well known here that challenged political oppression, “Pelin Tet.” It is a biting work from 1978 that is aimed, not so subtly, at Jean-Claude Duvalier, the son of the dictator François Duvalier and himself a former dictator known as Baby Doc, who returned here from exile in January.

Although not well known in the English-speaking world, Frankétienne has star status in French- and Creole-speaking countries and was rumored to be on the short list for a Nobel Prize in Literature in 2009.

After the quake, his works gained more international attention, particularly in Canada and France. “The Trap” debuted in March 2010 at a Unesco forum in Paris that named him an artist for peace; galleries in New York have organized shows featuring his artwork. Still, he also holds informal Sunday workshops with young artists in Haiti to talk about and critique their work.

“He is not only a major Haitian writer, he is probably the major Haitian writer, forever,” said Jean Jonassaint, a Haitian literature scholar at Syracuse University.

Frankétienne’s output, about 40 written works and, by his count, 2,000 paintings and sketches, comprises dense, baroque affairs. He invents new words, blending French and Haitian Creole. Long digressions are de rigueur. His paintings, which he says are selling particularly well these days, blur swirling blacks, blues and reds, often covered with poems.

He admires James Joyce, and it shows. “ ‘Finnegan’s Wake’ was like a crazy book, just like I write crazy books,” he said.

Still, the Haitian-American writer Edwidge Danticat said Frankétienne remained popular among Haitians, in part because some of his plays had been videotaped and passed around in Haiti and in immigrant communities in the United States.

“Pelin Tet,” in which the grim life of two Haitian immigrants in New York deliberately echoes the oppression of the Duvalier era on the island, is a touchstone for many Haitians, said Ms. Danticat, who grew up in the same neighborhood as Frankétienne and was, in part, inspired to write by his rise to the top.

“His work can speak to the most intellectual person in the society as well as the most humble,” she said. “It’s a very generous kind of genius he has, one I can’t imagine Haitian literature ever existing without.”

Frankétienne was born as Franck Étienne on April 12, 1936, and raised in the Bel-Air neighborhood of Port-au-Prince, the son of a Haitian farmworker and an American businessman, who later abandoned her.

Frankétienne’s mother worked as a street vendor — selling cigarettes, charcoal, candies, moonshine — while raising eight children.

“Since I was 5 or 6 I was smoking or drinking, but my mother never knew,” he recalled. He was the oldest, and she strove to send him to school (he, in turn, tutored his younger siblings, leading him to establish his own school).

The school he attended was French-speaking. Frankétienne initially did not know a word of French, but angered at being teased by other students, he set about mastering the language and developing an affinity for words and artistic expression.

His best-known works came in the 1960s and ’70s, and he ranks his novel “Dezafi” as one of his most cherished. Set in a rural Haitian village, it weaves cockfighting, zombification, the history of slavery and other themes into an allegory of the country’s pain and suffering.

“It is the challenge of finding the light to liberate everyone,” he said. He wrote it in Creole, he said, because that was the voice of the characters he imagined.

But Frankétienne also felt a need to assert his Haitian identity, as people often look at his fair skin, blue eyes and white hair and doubt he is from this predominantly black country.

“They might think I am white or mulatto or whatever, but I am not,” he said. “I have black features, Negro features. My mother was an illiterate peasant and she had me when she was 16. She was taken in by an American, a very rich American. The American was 63 and my mother was 16 at the time.”

Switching from Creole to English, which he is usually too timid to speak, he added, “You understand who I am now?”

After completing “Dezafi,” he was frustrated that so few of his compatriots could read it, with nearly half the adult population illiterate. He switched to plays, even if that meant irritating the dictatorship.

“Dictators are mean but not necessarily stupid, so they knew I didn’t have any readers,” Frankétienne said. “What really gave them a problem was when I started with plays.”

Other writers and artists left Haiti during the dictatorship, but he stayed as his reputation grew outside the country and human rights groups closely followed him, providing, he believes, some cover from Mr. Duvalier.

Later, he joined other intellectuals in denouncing Jean-Bertrand Aristide, the first democratically elected president after Jean-Claude Duvalier was overthrown. Mr. Aristide, he said, became fixated on power and tolerated corruption and thuggery in his administration.

“He is a ghost, too,” Frankétienne said of Mr. Aristide’s return in March after seven years in exile.

His only regret, he said, is that his work is not widely translated and better known. If he knew Chinese, Japanese, Italian or other languages, he said, he would put them in his works.

“Everything is interconnected,” he said. “We are connected to everything, everyone.”

Frankétienne added, “The only thing not chaotic is death.”"
frankétienne  haiti  2011  literature  chaos  death  writing  form  theater  poetry  creole  language  identity  education  zombies  voodoo  vodou  voudoun  slavery  history  jeanjonassaint  edwidgedanticat  babdydoc  papadoc  jean-claudeduvalier  françoisduvalier  disorder  order  nonmanagement 
november 2018 by robertogreco
Spiralism: Haiti’s Long-Lost Poetics of Protest | Public Books
"Kaiama L. Glover’s choice to translate—brilliantly—this particular work may be seen as a gesture toward reconnecting Spiralism with the broader literary history of the Caribbean, a field largely dominated by Martinican thinkers such as Aimé Césaire and Édouard Glissant.

What is Spiralism? The novel opens with lyrical flights that lay bare the movement’s objectives:
More effective at setting each twig aquiver in the passing of waves than a pebble dropped into a pool of water, Spiralism defines life at the level of relations (colors, odors, sounds, signs, words) and historical connections …

Re-creating wholes from mere details and secondary materials, the practice of Spiralism reconciles Art and Life through literature, and necessarily breaks with the hypocrisy of the Word … Spiralism uses the Complete Genre, in which novelistic description, poetic breath, theatrical effect, narratives, stories, autobiographical sketches, and fiction all coexist harmoniously …


These first pages are not set off from the main narrative as paratextual commentary; instead, they are woven directly into the fabric of the text they foretell."



"Unlike other Franco-Caribbean genres such as Négritude or Créolité, Spiralism does not announce a geopolitical project, but its social dimension is made explicit in Ready to Burst. Like Jean-Paul Sartre’s notion of Total Literature2—a genre that would be legible to both the oppressor and the oppressed, and that would be the synthesis of destruction and construction—Spiralism’s Complete Genre is meant to be accessible to all. As Paulin, the writer and Frankétienne’s fictional alter ego, explains, Spiralism must tailor its shape to the needs of proletarian readers: “Our age doesn’t lend itself to reading literary works, boring in their too often useless length. … Between the fatigue of the night before and that of the day after … the laboring classes only have limited time—if they have any at all—to read printed characters. … And so, it’s a question of stating things quickly.” Spiralism aims to cleanse the written word of its bourgeois nature by freeing it from the conventional sentence. Thus unshackled, Paulin explains, the word acquires velocity and magnitude. It becomes “Inflated with meanings. Swollen with allusions.”

Spiralism is, perhaps above all, a state of mind in the face of life’s absurdity. “Whirlwinds. Vertigos. Storms. My life beats to the rhythm of turbulences,” declares Paulin. “I am a Spiralist. … It’s not that I’m looking to be scandalous. But because life itself emerges from the cry of blood. Wayward child of pain. Of violence. And that, too, is Spiralism.” On the one hand, these semantic splinters perform the feeling of insularity, of oppression, of restlessness, and of fragmentation that characterized the life of the Haitian people under the Duvalier regime; on the other hand, the resistance they stage against traditional literature symbolically punctures all forms of dictatorships.

Spirals are intrinsically infinite, incomplete. Paulin never finishes his novel and eventually vanishes into thin air, having perhaps been a figment of Raynand’s imagination all along. And much as the spiral gives and takes, Frankétienne reminds the reader that his work’s self-proclaimed aesthetic allegiance matters less than the sheer fact of writing: “I no longer worry about what I write. I simply write. Because I must. Because I’m suffocating. I write anything. Any way. People can call it what they want: novel, essay, poem, autobiography, testimony, narrative, memory exercise, or nothing at all. I don’t even know, myself.”"
2015  spiralism  haiti  poetry  poetics  protest  frankétienne  kaimaglover  aimécésaire  édouardglissant  literature  form  corinestofle  jean-paulsartre  canon  legibility  renéphiloctète  jean-claudefignolé 
november 2018 by robertogreco
26 | Black Mountain College — Do Not Touch
"We're going back to school and learning about an arts college in the mountains of Asheville, North Carolina. For 24 years the college attracted famous teachers and produced students who would go on to achieve their own fame. I have two guests speaking to me about Black Mountain - Kate Averett from the Black Mountain College Museum + Arts Center and Professor Eva Diaz from Pratt Institute."
bmc  2018  blackmountaincollege  bauhaus  annialbers  johndewey  art  arts  education  highered  highereducation  alternative  experimental  unschooling  deschooling  democracy  horizontality  evadiaz  kateaverett  history  arthistory  pedagogy  lcproject  openstudioproject  form  exploration  liberalarts  roberrauschenberg  willemdekooning  abstractexpressionism  howwework  discipline  self  identity  johncage  mercecunningham  self-directedlearning  self-directed  learning  howwelearn  howweteach  teaching  vision  cognition  expressionism  expression  music  dance  buckminsterfuller  technique  chance  happenings  anarchism  ego  spontaneity  unknown  improvisation  radicalism  transilience  northcarolina  transience  hippies  communes  integration  jacoblawrence  almastonewilliams  outsiders  refugees  inclusion  inclusivity  openness  gender  rayjohnson  elainedekooining  karenkarnes  dorothearockburn  hazellarsenarcher  blackmountaincollegemuseum  susanweil  maryparkswashington  josefalbers  charlesolson  poetry  johnandrewrice 
october 2018 by robertogreco
Black Mountain College: "The Grass-Roots of Democracy" - Open Source with Christopher Lydon
"Our guest, the literary historian Louis Menand, explains that B.M.C. was a philosophical experiment intent on putting the progressive philosopher John Dewey‘s ideas to work in higher education. The college curriculum was unbelievably permissive — but it did ask that students undertake their own formation as citizens of the world by means of creative expression, and hard work, in a community of likeminded people.

The college may not have lived up to its utopian self-image — the scene was frequently riven by interpersonal conflict — but it did serve as a stage-set to some of modern culture’s most interesting personalities and partnerships."
bmc  blackmountaincollege  rutherickson  louismenand  teddreier  theodoredreier  sebastiansmee  taylordavis  williamdavis  2016  robertcreeley  jacoblawrence  josefalbers  robertrauschenberg  annialbers  davidtudor  franzkline  mercecunningham  johncage  charlesolson  buckminsterfuller  johndewey  democracy  art  music  film  poetry  cytwombly  bauhaus  experientiallearning  howwelearn  education  johnandrewrice  unschooling  deschooling  schools  schooling  learning  howelearn  howweteach  pedagogy  christopherlydon  abstractexpressionism  popart  jacksonpollock  arthistory  history  arts  purpose  lcproject  openstudioproject  leapbeforeyoulook  canon  discovery  conflict  artists  happenings  openness  rural  community  highered  highereducation  curriculum  willemdekooning  small  control  conversation  interdisciplinary  transdisciplinary  mitmedialab  medialab  chaos  utopia  dicklyons  artschools  davidbowie  experimentation  exploration  humanity  humanism  humility  politics 
october 2018 by robertogreco
Sean Ziebarth on Twitter: "The effects of outlining on writing. Via “Several short sentences about writing” by Verlyn Klinkenborg #teachwriting #aplangchat #2ndaryela #elachat #engchat… https://t.co/iu9kcxup0F"
"The effects of outlining on writing.
Via “Several short sentences about writing” by Verlyn Klinkenborg
[https://www.penguinrandomhouse.com/books/93789/several-short-sentences-about-writing-by-verlyn-klinkenborg/9780307279415 ]
#teachwriting #aplangchat #2ndaryela #elachat #engchat


[images with: ]

In the outline and draft model of writing, thinking is largely done up front.
Outlining means organizing the sequence of your meanings, not your sentences.
It derogates the making of sentences.
It ignores the suddenness of thought,
The surprises to be found in the making of sentences.
It knows nothing of the thoughtfulness you'll discover as you work.

It prevents discovery within the act of writing.
It says, planning is one thing, writing another,
And discovery has nothing to do with it.
It overemphasizes logic and chronology
Because they offer apparently "natural" structures.
It preserves the cohesiveness of your research
And leaves you with a heap of provisional sentences,
Which are supposed to sketch the thoughts you've already outlined.

It fails to realize that writing comes from writing."

[later: "I can’t believe I’ve survived the past six years without “Several Short Sentences About Writing” by Verlyn Klinkenborg. #zen #wordnerd"
https://twitter.com/MrZiebarth/status/1047722841532071937

[images with]

"There's nothing permanent in the state of being written down.
Your sentences, written down, are in the condition of waiting to be examined.

You commit yourself to each sentence as you make it,
And to each sentence as you fix it,
Retaining the capacity to change everything and
Always remembering to work from the small-scale—The scale of the sentence—upward.

Rejoicing and despair aren't very good tools for revising.
Curiosity, patience, and the ability to improvise are.
So is the ability to remain open to the work and let it remain open to you.

Don't confuse order with linearity.
You'll find more than enough order in the thought, and sentences that interest you.
By order I mean merely connections—
Some close, some oblique, some elliptical—
Order of any kind you choose to create, any way you choose to move."]
seanziebarth  verlynklinkenborg  writing  outlines  howwewrite  unschooling  deschooling  drafts  meaning  thinking  howwethink  sentences  poems  poetry  scale  linearity  order  thought  connections  meaningmaking  2018 
october 2018 by robertogreco
First Day of Class, by Michael Hettich
"First Day of Class

I was thinking of starting a forest, he says,
when I ask what he plans to do with his life
after he graduates. If I did that,
he explains, I would have to learn self-reliance
and I’d understand the animals. I wonder how many
trees I’d have to grow to become
a forest, a real one. The other students listen silently
and some even nod, as if what he said
was something they’d considered too. But they’ve all told me
lawyer or physical therapist, nurse
or businessperson. There have been no dancers
or even English majors. But this young man is serious,
sitting there in tee-shirt and baseball cap, straight-backed
and speaking with a deferential nod, as though
I could help him--as I’ve been explaining I’m here
to do, their professor. We’ll form a small community
I’ve told them, or I hope we will, and we’ll discuss the world.
It seems to be raining this morning, though I’m not sure
since this classroom doesn’t have windows. It was raining
when I drove in at first light, splashing through the streets:
Some of the students wear slickers; others carry
brightly-colored umbrellas. And now another young man
raises his hand and says that, on second thought,
he wants to be a farm, an organic farm with many bees
and maybe even cows and pigs no one will ever eat
that live like pets. I love fresh milk, he says.
Then someone else tells us she’s always secretly
yearned to be a lake somewhere up north in the woods—
let’s say in Maine, since I love seasons
and I wonder how it feels to freeze tight, not move
for months, how it feels to open up again
in the spring; and I’ve always wondered how fish would feel
swimming through my body, how that might make me shiver
like love. And she laughs then. And thus the room grows wild."

[via: https://twitter.com/earnestdrollery/status/1034827420120096769 ]
michaelhettich  unschooling  schooling  deschooling  schools  education  life  living  multispecies  morethanhuman  careers  poems  poetry 
september 2018 by robertogreco
Introduction to Electronic Literature: UCLA 2017: ENGL 116B
"Prof. Daniel Scott Snelson: danny.snelson@gmail.com | http://dss-edit.com
Course URL: http://dsnelson.bol.ucla.edu/~elit/2017.html
Wiki: http://dss-edit.com/elit/wiki

UCLA, Fall Quarter 2017
Room: Royce Hall 160 | Meeting Times: TuTh 2:00–3:50
Office: 203 Humanities | Office Hours: TuTh 4:00–5:00

Abstract: We might begin by asking, what is not electronic literature today? Rather than introduce electronic literature or “e-lit” as a distinct literary category, this course wonders if it’s still possible to consider literature beyond the electronic circuits that characterize the networked present. The creation and study of literature today is facilitated by a range of digital formats and networked consoles, each of which introduce new practices of production, circulation, reception, and reading. Alongside these transformations, we’ll explore a range of new literary genres inhabiting, for example, computer scripts, image macros, flash movies, social media, bandcamp releases, interactive applications, and print on demand books. Thinking through the present, this introduction examines the history and future of literature through the everyday experience of computers and electronic devices. From the history of digital poetics to recent internet publications, we’ll track the development of literature under the influence of computation up to works published in the present, as they emerge throughout the quarter. In lockstep, the course considers the category of “electronic literature” as a way to think about historical works remediated to the internet, in a wide range of (post-)digital formats. The course requires short weekly responses in an open format, as well as a mid-term and final assignment, which may be critical or creative in form, developed in conversation with the instructor. No previous experience in programming, poetry, or literature is required."

[See also: https://eliterature.org/pad/elp.html ]
literature  electronicliterature  e-literature  interactivefiction  if  danielscottsnelson  twine  poetry  poetics  digital  digitalhumanities 
august 2018 by robertogreco
EVERYBODY NEEDS A ROCK - ENGLISH : BYRD BAYLOR : Free Download, Borrow, and Streaming : Internet Archive
[See also: https://books.google.com/books?id=EWH-IfBQ-B0C ]

"RULE NUMBER 2

When you are looking
at rocks
don’t let

mothers or fathers
or sisters or brothers
or even best friends
talk
to you.

You should choose
a rock

when everything
is quiet.

Don’t let dogs bark
at you

or bees buzz
at you.

But if they do,

DON'T WORRY.

(The worst thing you can do is go
rock hunting when you are worried.)"

[via: https://www.instagram.com/p/BmRN3JFBySIAAG5R52aZZNqwRDHkkCHd_PXdLk0/ ]
morethanhuman  rocks  poems  poetry  objects  multispecies  byrdbaylor 
august 2018 by robertogreco
@cmonstah: EULOGY FOR JONATHAN GOLD  (a cut-up poem taken...
[poem links to the reviews the lines were taken from, so click though for that]

"EULOGY FOR JONATHAN GOLD
(a cut-up poem taken from his restaurant reviews)
(Photo by Javier Cabral @theglutster)

You may belong to L.A.’s great brotherhood of taco eaters
huddled around trucks late at night.
You munch still-muddy radishes to sweeten your breath,
but the stink of onions and garlic and cilantro and pig flesh
haunt you like a friendly ghost for days.
When we’re hungry, everything tastes good
Hunger is the best spice.

Pico was where I learned to eat
I saw my first punk-rock show on Pico
was shot at, fell in love, witnessed a knife fight,
took cello lessons, raised chickens, ate Oki Dogs and heard X, Ice Cube, and Willie Dixon perform
(though not together)
on Pico.

When this dining room was Tiny Naylor’s
my mom used to take us here for patty melts
when she didn’t feel flush enough
to spring for the onion rings across the street.
You could drive by the restaurant 300 times
without ever being tempted to stop.

You dump your Lexus off with the valet,
march down a breezeway.
It looks like the path to Thunder Mountain at Disneyland
You walk past a watery ditch lined with shattered rock whose cracks ooze green light.
You are led to an elevator in the rust-colored steel structure.

If you spend much time watching period Asian movies,
you will remember scenes of dark inns,
a crew of women tending an ancient grill,
prodding battered cookpots licked with yellow flame.
Their interiors resonate with dark wood and leather,
stone and iron, surfaces oozing water and flame.
Like the fifth level of any first-person shooter.
You never know quite whether to order a Dirty Martini
or to search the ground for a pulsing golden key.

It is time to go down into the dining room.
The minimalist soundtrack,
which sounds like the part
where the icebergs float by in a National Geographic film.
If you try to muscle your way toward a seat
that may not officially belong to you,
a stooped Chinese woman will cut you off at the knees.

A waitress will try to sell you a third or fourth martini.
The skull of Simon Le Bon splats on your forehead.
His brains trickle down your cheek like warm yolk.
I wave toward the canapé,
telling him that I had always considered truffle oil
to be the Heinz ketchup of the overbred.
Traditional dishes are more austere
than what used to be served,
possibly because of the seediness
radiating from the adult-video store next door .

Ghost-white Kobe beef grilled to a crisp-edged liquid succulence.
A foil-wrapped construction the size and girth of your forearm
drapes over a paper plate like a giant oozing sea cucumber.
The bare hint of sweaty afternoon sex in the scent of a juicy midsummer melon.
This is the first of many flowers you will see tonight.
You will recognize none of them.

What will happen is
that your date will suck up the last of his or her Jolly Roger Bowl
and carve your initials in the booth.
You hear the occasional lonely moan of a train whistle
from the tracks that run a few blocks south of here.
It seems exactly right.
As if you are eating your lunch
at some railroad-station restaurant
a hundred miles in the countryside.

And it is hard to avoid feeling that everything
is pretty all right in the world."
carolinamiranda  jonathangold  food  eulogies  writing  poems  poetry  2018 
july 2018 by robertogreco
Haibun - Wikipedia
"Haibun (俳文, literally, haikai writings) is a prosimetric literary form originating in Japan, combining prose and haiku. The range of haibun is broad and frequently includes autobiography, diary, essay, prose poem,[1] short story and travel journal.

History
The term "haibun" was first used by the 17th-century Japanese poet Matsuo Bashō, in a letter to his disciple Kyorai in 1690.[2] Bashō was a prominent early writer of haibun, then a new genre combining classical prototypes, Chinese prose genres and vernacular subject matter and language.[2] He wrote some haibun as travel accounts during his various journeys, the most famous of which is Oku no Hosomichi (Narrow Road to the Interior).

Bashō's shorter haibun include compositions devoted to travel and others focusing on character sketches, landscape scenes, anecdotal vignettes and occasional writings written to honor a specific patron or event. His Hut of the Phantom Dwelling can be classified as an essay while, in Saga Nikki (Saga Diary), he documents his day-to-day activities with his disciples on a summer retreat.

Traditional haibun typically took the form of a short description of a place, person or object, or a diary of a journey or other series of events in the poet's life.[3] Haibun continued to be written by later haikai poets such as Yosa Buson,[4] Kobayashi Issa[5] and Masaoka Shiki.[3]

In English
Haibun is no longer confined to Japan, and has established itself as a genre in world literature[6][7] which has gained momentum in recent years.[8]

James Merrill's "Prose of Departure", from The Inner Room (1988), is an earlier example.

The first contest for English-language haibun took place in 1996,[9] organized by poet and editor Michael Dylan Welch, and judged by Tom Lynch and Cor van den Heuvel. Anita Virgil won first prize, and David Cobb won second prize. The contest resulted in the publication of Wedge of Light (Press Here) in 1999. As credited by Welch,[10] the first anthology of English-language haibun was Bruce Ross's Journey to the Interior: American Versions of Haibun (Tuttle), published in 1998.[11][non-primary source needed]

Jim Kacian and Bruce Ross edited the inaugural number of the annual anthology American Haibun & Haiga (Red Moon Press) in 1999; that series, which continues to this day, changed its name to Contemporary Haibun in 2003 and sponsored the parallel creation in 2005 of Contemporary Haibun Online, a quarterly journal that added Welsh haibun author Ken Jones to the founding editorial team of Kacian and Ross.

Characteristics
A haibun may record a scene, or a special moment, in a highly descriptive and objective manner or may occupy a wholly fictional or dream-like space.[citation needed] The accompanying haiku may have a direct or subtle relationship with the prose and encompass or hint at the gist of what is recorded in the prose sections.

Several distinct schools of English haibun have been described,[12] including Reportage narrative mode such as Robert Wilson's Vietnam Ruminations, Haibunic prose, and the Templum effect.

Contemporary practice of haibun composition in English is continually evolving.[13][citation needed] Generally, a haibun consists of one or more paragraphs of prose written in a concise, imagistic haikai style, and one or more haiku. However, there may be considerable variation of form, as described by editor and practitioner Jeffrey Woodward.[14]

Modern English-language haibun writers (aka, practitioners) include Jim Kacian, Bruce Ross, Mark Nowak, Nobuyuki Yuasa,[15] Lynne Reese,[16] Peter Butler,[17] and David Cobb, founder of the British Haiku Society in 1990 and author of Spring Journey to the Saxon Shore, a 5,000-word haibun which has been considered seminal for the English form of kikōbun (i.e., travel diary).[18]"

[via: "So I've been experimenting with writing haibun lately, and as a lifelong diarist (who's recently slacked in a major way but is now jumping back into it!) this form is opening things way up for me. Shoutout to Bashō."
https://twitter.com/gumbo_amando/status/1017249109416267776 ]
japan  japanese  journals  journaling  srg  haibun  poetry  prose  haiku  writing  diaries  essays  autobiography  bashō  classideas 
july 2018 by robertogreco
A Color of the Sky by Tony Hoagland | Poetry Foundation
"Windy today and I feel less than brilliant,
driving over the hills from work.
There are the dark parts on the road
when you pass through clumps of wood
and the bright spots where you have a view of the ocean,
but that doesn’t make the road an allegory.

I should call Marie and apologize
for being so boring at dinner last night,
but can I really promise not to be that way again?
And anyway, I’d rather watch the trees, tossing
in what certainly looks like sexual arousal.

Otherwise it’s spring, and everything looks frail;
the sky is baby blue, and the just-unfurling leaves
are full of infant chlorophyll,
the very tint of inexperience.

Last summer’s song is making a comeback on the radio,
and on the highway overpass,
the only metaphysical vandal in America has written
MEMORY LOVES TIME
in big black spraypaint letters,

which makes us wonder if Time loves Memory back.

Last night I dreamed of X again.
She’s like a stain on my subconscious sheets.
Years ago she penetrated me
but though I scrubbed and scrubbed and scrubbed,
I never got her out,
but now I’m glad.

What I thought was an end turned out to be a middle.
What I thought was a brick wall turned out to be a tunnel.
What I thought was an injustice
turned out to be a color of the sky.

Outside the youth center, between the liquor store
and the police station,
a little dogwood tree is losing its mind;

overflowing with blossomfoam,
like a sudsy mug of beer;
like a bride ripping off her clothes,

dropping snow white petals to the ground in clouds,

so Nature’s wastefulness seems quietly obscene.
It’s been doing that all week:
making beauty,
and throwing it away,
and making more."
poems  poetry  morethanhuman  multispecies  tonyhoagland  2003  plants  trees  wastefulness  making  spring  everyday  ephemeral 
july 2018 by robertogreco
Cecilia Vicuña: About to Happen | BAMPFA
"This first survey exhibition of the work of Chilean-born artist Cecilia Vicuña traces her career to stage a conversation about discarded and displaced people, places, and things in a time of global climate change. The exhibition includes key installations, sculptures, texts, and videos from a multidisciplinary practice that has encompassed performance, sculpture, drawing, video, poetry, and site-specific installations over the course of the past forty years.

Working within the overlapping discourses of Conceptual art, land art, poetry, and feminist art practices, Vicuña has long refused categorical distinctions, operating fluidly between concept and craft, text and textile. Her practice weaves together disparate artistic disciplines as well as cultural and social communities—with shared relationships to land and sea, and to the economic and environmental disparities of the twenty-first century.

The exhibition presents a large selection of Vicuña's precario (precarious) sculptures produced over the last four decades that feature found objects in lyrical juxtaposition, as well as a monumental hanging structure created out of materials scavenged from the ever-diminishing Louisiana coast. Reframing dematerialization as both a formal consequence of 1960s Conceptualism and radical climate change, Cecilia Vicuña: About to Happen examines a process that shapes public memory and responsibility."

[See also: https://bampfa.org/event/reading-cecilia-vicu%C3%B1a
https://bampfa.org/event/cecilia-vicu%C3%B1a-performance ]

[via: https://www.instagram.com/p/Bk37axFFoPk/ ]
ceciliavicuña  togo  tosee  glvo  chile  art  bampfa  2018  displacement  multidisciplinary  artists  video  poetry  sculpture  climatechange  memory  responsibility 
july 2018 by robertogreco
BBC Radio 4 - Pick a Sky and Name It
"How did Momtaza Mehri go from net savvy 6th former to successful millennial poet?

A house belonging to her grandmother is the closest poet Momtaza Mehri has ever come to having a permanent home. Aside from summer months in London, Momtaza's family picked its way across the Middle East.

"Then I just realise, I'm having this typical Somali experience where we're literally going to the places that would be considered the bad 'hoods."

Across a sea, another gulf, was the country her parents no longer called home.

Talking with her mother, Momtaza revisits the childhood experiences that shaped her outlook and her coming of age as a millennial poet.

Poetry extracts are taken from:
I believe in the transformative power of cocoa butter and breakfast cereal in the afternoon
Manifesto for those carrying dusk under their eyes
The Sag
Shan
Wink Wink
November 1997

"The internet just switched up the entire game," Momtaza says.

Producer: Tamsin Hughes
A Testbed production for BBC Radio 4."
momtazamehri  poets  poetry  poems  howwelearn  online  internet  web  blogging  autodidacts  somalidiaspora  tamsinhughes  2018  interviews  radio  profiles  somalia  middleeast  london  experience  childhood  dubai  mogadishu  civilwar  tumblr  publishing  howwewrite  freedom 
july 2018 by robertogreco
Untitled by Jesús Castillo - Poems | Academy of American Poets
"Dear Empire, I am confused each time I wake inside you.
You invent addictions.
Are you a high-end graveyard or a child?
I see your children dragging their brains along.
Why not a god who loves water and dancing
instead of mirrors that recite your pretty features only?

You wear a different face to each atrocity.
You are un-unified and tangled.
Are you just gluttony?
Are you civilization’s slow grenade?

I am confused each time I’m swallowed by your doors."
poems  poetry  empire  jesúscastillo  addiction  civilization  capitalism  2018 
june 2018 by robertogreco
Red Brocade by Naomi Shihab Nye - Poems | Academy of American Poets
"The Arabs used to say,
When a stranger appears at your door,
feed him for three days
before asking who he is,
where he’s come from,
where he’s headed.
That way, he’ll have strength
enough to answer.
Or, by then you’ll be
such good friends
you don’t care.
 
Let’s go back to that.
Rice? Pine nuts?
Here, take the red brocade pillow.
My child will serve water
to your horse.
 
No, I was not busy when you came!
I was not preparing to be busy.
That’s the armor everyone put on
to pretend they had a purpose
in the world.
 
I refuse to be claimed.
Your plate is waiting.
We will snip fresh mint
into your tea."
poem  poetry  strangers  naomishihabnye  busyness  hospitality  visitors  arabs 
june 2018 by robertogreco
Poetry Kōan (@poetrykoan) | Twitter
"Poetry prescriptions for cracking open hearts & minds, bodies & souls. Mostly self-prescribed by/for @stevewasserman_. Always paper, ink, human faces."

[See also:
http://poetrykoan.com/
http://poetrykoan.com/wha/
http://poetrykoan.com/my-koans/ ]
poetry  poems  daily  twitter  via:jslr 
june 2018 by robertogreco
Are.na / Blog – Breaking the Sequence
"When I created the channel on which this case study is based, I put the whole title in quotation marks—“experimental” “comics”—and initially made it private, wary that my descriptors were either too broad or too limiting. Categorizing these works as experimental, or even as comics, served as little more than to create a placeholder. This is where I would collect and organize works that didn’t quite look like any comics I’d seen before, but that I liked a whole lot, and wasn’t entirely sure why.

As the channel grew, patterns arose, and it became clear that the comics that read to me as experimental were ones that integrated aesthetic principles and practices from fine art, graphic design, experimental music, sculpture, architecture, poetry, video games, and text adventures. They often didn’t employ the typical narrative devices—dialogue, plot, climax, even characters—but they still told a story. Sometimes it was the form that I identified as experimental, other times it was the processes by which they were made.

That explained the experimental. But if these works were so genre-fluid, what kept them considered comics?

In a lecture, the writer and webcomics artist Daniel Merlin Goodbrey provides a helpful outline of characteristics that are distinct to comics as a visual medium. Defining the norm gave me a framework for understanding the works that deviate from it. Goodbrey’s characteristics were a useful jumping off point for articulating what the works I was collecting were doing, and why they struck me so powerfully. They are:

Juxtaposition of images
Spatial networks
Space as Time
Temporal Maps
Closure between Images
Word & Image Blending
Reader Control of Pacing

Experimental comics, then, are works that acknowledge the traditional framework of comics but, rather than adhere to it, tend to tilt, twist, and warp it into other things. This case study offers a survey of comics that abandon one or more of these characteristics, honoring innovations by artists, video game designers, poets, and educators alike. It should go without saying that these categories are by no means mutually exclusive. There are comics that exist outside of and in between these make-shift categories. As you may expect, there are very few rules.

1. Abstract Formalist Comics
2. Comics Poetry
3. Digital and Game Comics
4. Scores, Maps, and Designed Constraints"

[each of those four examples is expanded on in the following text with images and videos to explain]
sheafitzpatrick  comics  form  design  are.na  2017  graphicnovels  art  poetry  games  gaming  videogames  space  time  words  images  experimental 
june 2018 by robertogreco
David George Haskell on Twitter: "Time is context dependent. For the Rocky Mountain bristlecone pine, a needle is fifteen summers, a sapling a century. For every species, a tempo, a velocity. Wood from over 50 human generations ago, on a Precambrian mount
"Time is context dependent. For the Rocky Mountain bristlecone pine, a needle is fifteen summers, a sapling a century. For every species, a tempo, a velocity.
Wood from over 50 human generations ago, on a Precambrian mountain."

[via: https://twitter.com/timoslimo/status/1007738124053577729

""“time is a tree (this life one leaf)
but love is the sky and i am for you
just so long and long enough”
- e.e. cummings "
time  context  nature  life  velocity  trees  eecummings  poems  poetry  multispecies  morethanhuman 
june 2018 by robertogreco
Webcam Poetry -- Joe McAlister
"Webcam Poetry (2018)
Webcam poetry is a project that uses dense captioning and my own generative poetry engine to create expressive poetry based on live camera streams.

Dense captioning uses machine learning to understand what can be seen within the scene, which I subsequently use to influence my poetry engine, creating expressive poetry related directly to what is happening in the scene (often with a little artistic license).

Because of the ability of the poetry engine to research any topic the combinations seen within the poetry is almost endless. Here are a few of my favourite poems.

View Webcam Poetry live at specified times at http://www.webcampoetry.com/ "
webcams  poetry  jomcalister  2018  art  poems  internet  online  web 
june 2018 by robertogreco
Poética del lápiz, del papel y de las contradicciones | CCCB LAB
"Reflexiones de un escritor que transita entre el medio analógico y el digital, entre lo material y lo virtual."



"Aprendimos a leer en libros de papel y nuestros recuerdos yacen en fotos ampliadas a partir de un negativo. Actualmente vivimos en un entorno digital repleto de promesas y ventajas, y aun así parece que nuestro cerebro reclama dosis periódicas de tacto, artesanía y materia. El escritor Jorge Carrión reflexiona sobre este tránsito contradictorio entre un medio y otro: desde la firma de un libro garabateado o las lecturas repletas de anotaciones, hasta la necesidad de esbozar ideas con un bolígrafo o dibujar para observar y comprender, pasando por el móvil usado para tomar notas o fotografiar citas.

Hoy, en un avión que, a pesar de ser low cost, atraviesa el océano, leo estos versos en un librito extraordinario: «Escribo a mano con un lápiz Mongol Nº 2 mal afilado, / apoyando hojas de papel sobre mis rodillas. / Ésa es mi poética: escribir con lápiz es mi poética. / […] Lo del lápiz mal afilado es indispensable para mi poética. / Sólo así quedan marcas en las hojas de papel / una vez que las letras se borran y las palabras ya no / se entienden o han pasado de moda o cualquier otra cosa.»

Ayer, minutos antes de que empezara la conferencia que tenía que dar en Buenos Aires, una anciana se me acercó para que le dedicara su ejemplar de Librerías. Lo tenía lleno de párrafos subrayados y de esquinas de página dobladas («cada librería condensa el mundo», yo siempre pensé lo mismo, sí, señor), de tarjetas de visita y de fotografías de librerías («este folleto de Acqua Alta es de cuando estuve en Venecia, un viaje muy lindo»), de recortes de diario («mire, la nota de Clarín que habla del fallecimiento de Natu Poblet, qué tristeza») y hasta de cartas («ésta se la escribí a usted cuando terminé su libro y de pronto me quedé otra vez sola»). No es mi libro, le respondí, usted se lo ha apropiado: es totalmente suyo, le pertenece. De perfil el volumen parecía la maleta de cartón de un emigrante o los estratos geológicos de un acantilado. O un mapa impreso en 3D del rostro de la anciana.

La semana pasada, en mi casa, leí este pasaje luminoso de Una historia de las imágenes, un librazo extraordinario de David Hockney y Martin Gayford publicado por Siruela:

En una fotografía el tiempo es el mismo en cada porción de su superficie. No así en la pintura: ni siquiera es así en una pintura hecha a partir de una foto. Es una diferencia considerable. Por eso no podemos mirar una foto mucho tiempo. Al final no es más que una fracción de segundo, no vemos al sujeto en capas. El retrato que me hizo Lucian Freud requirió ciento veinte horas de posado, y todo ese tiempo lo veo en capas en el cuadro. Por eso tiene un interés infinitamente superior al de una foto.

Hace unos meses, en el AVE que une Barcelona con Madrid, leí un artículo sobre una tendencia incipiente: ya son varios los museos del mundo que prohíben hacer fotografías durante la visita; a cambio te regalan un lápiz y papel, para que dibujes las obras que más te interesen, para que en el proceso de la observación y de la reproducción, necesariamente lento, mires y pienses y digieras tanto con los ojos como con las manos.

Vivimos en entornos absolutamente digitales. Producimos, escribimos, creamos en teclados y pantallas. Pero al principio y al final del proceso creativo casi siempre hay un esquema, unas notas, un dibujo: un lápiz o un bolígrafo o un rotulador que se desliza sobre pósits o sobre hojas de papel. Como si en un extremo y en otro de lo digital siempre hubiera una fase predigital. Y como si nuestro cerebro, en un nuevo mundo que –como explica afiladamente Éric Sadin en La humanidad aumentada– ya se ha duplicado algorítmicamente, nos reclamara dosis periódicas de tacto y artesanía y materia (infusiones de coca para combatir el mal de altura).

Hace dos años y medio, tras mi última mudanza, pasé un rato hojeando el álbum de fotos de mi infancia. Aquellas imágenes envejecidas y palpables no sólo documentan mi vida o la moda o las costumbres de los años setenta y ochenta en España, también hablan de la evolución de la fotografía doméstica y de los procesos de revelado. Tal vez cada foto sea solamente un instante (un instante sin una segunda oportunidad, sin edición, sin filtros, sin anestesia), pero las páginas de cartulina, las anotaciones manuscritas en rotulador negro o en boli Bic azul, los cambios de cámara o las impresiones en brillo o en mate crean un conjunto (un libro) en el que la dimensión material del tiempo se puede reconstruir y tocar, elocuente o balbuciente, nítida o desdibujada, como en un yacimiento arqueológico. O como en un mapa impreso en 3D de mi futuro envejecimiento.

Hoy, ahora, acabo de leer este librito extraordinario, el poemario Apolo Cupisnique, de Mario Montalbetti, que han coeditado en Argentina Añosluz y Paracaídas. Y lo cierro, con versos subrayados, páginas con la esquina doblada, la entrada de un par de museos porteños y un lápiz de Ikea que probablemente también se quede ahí, para siempre secuestrado. Y en el avión low cost empiezo a escribir este texto gracias a mi teléfono móvil, porque no soy (no somos) más que un sinfín de contradicciones. La cita de Montalbetti la copio directamente del libro, pero para la de Hockney tengo que recurrir a la foto que hice de esa doble página la semana pasada. A la izquierda el texto, a la derecha el retrato que le hizo Freud. La foto del retrato. Se pueden ver, en efecto, las capas dinámicas que dejaron en la pintura las ciento veinte horas inmóviles. Con el dedo índice y el pulgar amplío sus ojos y durante un rato –en la noche que se disuelve en jet lag– nuestras miradas se encuentran en la pantalla sin estratos."
jorgecarrión  digital  writing  print  virtual  material  2018  art  poetry  apolocupisnique  mariomontalbetti  añosluz  paracaídas  paper  books  ebooks  éricsadin  algorithms  davidhockney  martingayford  natupoblet 
may 2018 by robertogreco
The Guest House: A Poem - Mrs. Mindfulness
"The Guest House

This being human is a guest house.
Every morning a new arrival.

A joy, a depression, a meanness,
some momentary awareness comes
as an unexpected visitor.

Welcome and entertain them all!
Even if they are a crowd of sorrows,
who violently sweep your house
empty of its furniture,
still, treat each guest honorably.
He may be clearing you out
for some new delight.

The dark thought, the shame, the malice.
meet them at the door laughing and invite them in.

Be grateful for whatever comes.
because each has been sent
as a guide from beyond.

— Jellaludin Rumi,
translation by Coleman Barks"
poetry  mindfulness  jellaludinrumi  poems  colemanbarks  hospitality  via:lukeneff 
may 2018 by robertogreco
Fred Moten’s Radical Critique of the Present | The New Yorker
"He is drawn to in-between states: rather than accepting straightforward answers, he seeks out new dissonances."



"“I like to read, and I like to be involved in reading,” he said. “And for me, writing is part of what it is to be involved in reading.”"



"For Moten, blackness is something “fugitive,” as he puts it—an ongoing refusal of standards imposed from elsewhere. In “Stolen Life,” he writes, “Fugitivity, then, is a desire for and a spirit of escape and transgression of the proper and the proposed. It’s a desire for the outside, for a playing or being outside, an outlaw edge proper to the now always already improper voice or instrument.” In this spirit, Moten works to connect subjects that our preconceptions may have led us to think had little relation. One also finds a certain uncompromising attitude—a conviction that the truest engagement with a subject will overcome any difficulties of terminology. “I think that writing in general, you know, is a constant disruption of the means of semantic production, all the time,” he told me. “And I don’t see any reason to try to avoid that. I’d rather see a reason to try to accentuate that. But I try to accentuate that not in the interest of obfuscation but in the interest of precision.”"



"“The Undercommons” lays out a radical critique of the present. Hope, they write, “has been deployed against us in ever more perverted and reduced form by the Clinton-Obama axis for much of the last twenty years.” One essay considers our lives as a flawed system of credit and debit, another explores a kind of technocratic coercion that Moten and Harney simply call “policy.” “The Undercommons” has become well known, especially, for its criticism of academia. “It cannot be denied that the university is a place of refuge, and it cannot be accepted that the university is a place of enlightenment,” Moten and Harney write. They lament the focus on grading and other deadening forms of regulation, asking, in effect: Why is it so hard to have new discussions in a place that is ostensibly designed to foster them?

They suggest alternatives: to gather with friends and talk about whatever you want to talk about, to have a barbecue or a dance—all forms of unrestricted sociality that they slyly call “study.”"



"Moten’s poetry, which was a finalist for a National Book Award, in 2014, has a good deal in common with his critical work. In it, he gathers the sources running through his head and transforms them into something musical, driven by the material of language itself. "



"And he’s still trying to figure out how to teach a good class, he said. He wasn’t sure that it was possible under the current conditions. “You just have to get together with people and try to do something different,” he said. “You know, I really believe that. But I also recognize how truly difficult that is to do.”"
2018  fredmoten  davidwallace  poetry  fugitivity  betweenness  liminality  dissonance  reading  howweread  fugitives  blackness  undercommons  education  highereducation  highered  stefanoharney  sociality  study  learning  howwelearn  unschooling  deschooling  teaching  howweteach  pedagogy  criticalpedagogy  grades  grading  conversation  discussion 
may 2018 by robertogreco
Lunchbox Poems : THE LANGUAGE OF THE BIRDS
"1

A man saw a bird and found him beautiful. The bird had a song inside him, and feathers. Sometimes the man felt like the bird and sometimes the man felt like a stone—solid, inevitable—but mostly he felt like a bird, or that there was a bird inside him, or that something inside him was like a bird fluttering. This went on for a long time.


2

A man saw a bird and wanted to paint it. The problem, if there was one, was simply a problem with the question. Why paint a bird? Why do anything at all? Not how, because hows are easy—series or sequence, one foot after the other—but existentially why bother, what does it solve?

And just because you want to paint a bird, do actually paint a bird, it doesn’t mean you’ve accomplished anything. Who gets to measure the distance between experience and its representation? Who controls the lines of inquiry? We do. Anyone can.

Blackbird, he says. So be it, indexed and normative. But it isn’t a bird, it’s a man in a bird suit, blue shoulders instead of feathers, because he isn’t looking at a bird, real bird, as he paints, he is looking at his heart, which is impossible.

Unless his heart is a metaphor for his heart, as everything is a metaphor for itself, so that looking at the paint is like looking at a bird that isn’t there, with a song in its throat that you don’t want to hear but you paint anyway.

The hand is a voice that can sing what the voice will not, and the hand wants to do something useful. Sometimes, at night, in bed, before I fall asleep, I think about a poem I might write, someday, about my heart, says the heart.


3

They looked at the animals. They looked at the walls of the cave. This is earlier, these are different men. They painted in torchlight: red mostly, sometimes black—mammoth, lion, horse, bear—things on a wall, in profile or superimposed, dynamic and alert.

They weren’t animals but they looked like animals, enough like animals to make it confusing, meant something but the meaning was slippery: it wasn’t there but it remained, looked like the thing but wasn’t the thing—was a second thing, following a second set of rules—and it was too late: their power over it was no longer absolute.

What is alive and what isn’t and what should we do about it? Theories: about the nature of the thing. And of the soul. Because people die. The fear: that nothing survives. The greater fear: that something does.

The night sky is vast and wide.

They huddled closer, shoulder to shoulder, painted themselves in herds, all together and apart from the rest. They looked at the sky, and at the mud, and at their hands in the mud, and their dead friends in the mud. This went on for a long time.


4

To be a bird, or a flock of birds doing something together, one or many, starling or murmuration. To be a man on a hill, or all the men on all the hills, or half a man shivering in the flock of himself. These are some choices.

The night sky is vast and wide.

A man had two birds in his head—not in his throat, not in his chest—and the birds would sing all day never stopping. The man thought to himself, One of these birds is not my bird. The birds agreed.

RICHARD SIKEN"
poems  poetry  birds  animals  multispecies  morethanhuman  richardsiken 
april 2018 by robertogreco
Atlas by Terisa Siagatonu | Poetry Magazine
"If you open up any atlas
and take a look at a map of the world,
almost every single one of them
slices the Pacific Ocean in half.
To the human eye,
every map centers all the land masses on Earth
creating the illusion
that water can handle the butchering
and be pushed to the edges
of the world.
As if the Pacific Ocean isn’t the largest body
living today, beating the loudest heart,
the reason why land has a pulse in the first place.

The audacity one must have to create a visual so
violent as to assume that no one comes
from water so no one will care
what you do with it
and yet,
people came from land,
are still coming from land,
and look what was done to them.

When people ask me where I’m from,
they don’t believe me when I say water.
So instead, I tell them that home is a machete
and that I belong to places
that don’t belong to themselves anymore,
broken and butchered places that have made me
a hyphen of a woman:
a Samoan-American that carries the weight of both
colonizer and colonized,
both blade and blood.

California stolen.
Samoa sliced in half stolen.
California, nestled on the western coast of the most powerful
country on this planet.
Samoa, an island so microscopic on a map, it’s no wonder
people doubt its existence.
California, a state of emergency away from having the drought
rid it of all its water.
Samoa, a state of emergency away from becoming a saltwater cemetery
if the sea level doesn’t stop rising.
When people ask me where I’m from,
what they want is to hear me speak of land,
what they want is to know where I go once I leave here,
the privilege that comes with assuming that home
is just a destination, and not the panic.
Not the constant migration that the panic gives birth to.
What is it like? To know that home is something
that’s waiting for you to return to it?
What does it mean to belong to something that isn’t sinking?
What does it mean to belong to what is causing the flood?

So many of us come from water
but when you come from water
no one believes you.
Colonization keeps laughing.
Global warming is grinning
at all your grief.
How you mourn the loss of a home
that isn’t even gone yet.
That no one believes you’re from.

How everyone is beginning
to hear more about your island
but only in the context of
vacations and honeymoons,
football and military life,
exotic women exotic fruit exotic beaches
but never asks about the rest of its body.
The water.
The islands breathing in it.
The reason why they’re sinking.
No one visualizes islands in the Pacific
as actually being there.
You explain and explain and clarify
and correct their incorrect pronunciation
and explain

until they remember just how vast your ocean is,
how microscopic your islands look in it,
how easy it is to miss when looking
on a map of the world.

Excuses people make
for why they didn’t see it
before."
poems  poetry  maps  mapping  terisasiagatonu  2018  california  samoa  pacificocean  oceans  colonization  water  globalwarming  islands  migration 
april 2018 by robertogreco
The New School | Chicago magazine | April 2018
"Three years ago, the anthology The BreakBeat Poets: New American Poetry in the Age of Hip-Hop heralded a generation of Chicago bards—people like Eve Ewing, Fatimah Asghar, Nate Marshall, and singer-songwriter Jamila Woods—who “do what Gwendolyn Brooks told thousands of young writers in Chicago and everywhere: Tell the story that’s in front of your nose,” as Kevin Coval wrote in his introduction to the book.

This month, local publisher Haymarket Books is back with a second volume, Black Girl Magic, edited by Woods, Idrissa Simmonds, and Mahogany L. Browne. “The first book was about how hip-hop influenced the craft of poetry,” says Woods. “This edition is about highlighting black women within that tradition.” Those include rapper Noname, a Bronzeville native, as well as established poets such as Morgan Parker, Angel Nafis, and Aja Monet.

Here, we shine a spotlight on five local poets featured in the new collection."
poetry  poets  haymarketbooks  idrissasimmonds  mahoganybrowne  kevincoval  jamilawoods  eveewing  fatimahasghar  natemarshall  angelnafis  ajamonet  2018  morganparker  noname  e'monelauren  natalieroserichardson  ciaramiller  raychjackson  britteneyblackrosekapri 
april 2018 by robertogreco
How to Read a Poem by Edward Hirsch | Poetry Foundation
"Curious about poetry, but don't know where or how to begin? We've reprinted the first chapter from the book How to Read a Poem by Edward Hirsch. Its 16 sections provide strategies for reading poems, and each section has plenty of links to examples of poems in our archive to illustrate the points.

Heartland
Poems are like messages in a bottle sent out with little hope of finding a recipient. Those of us who find and read poems become their unknown addresses.

To the Reader Setting Out
The reader of poetry is a kind of pilgrim setting out. To read a poem is to depart from the familiar, to leave all expectations behind.

In the Beginning is the Relation
A lyric poem is a special communiqué between an I and a You. It speaks out of a solitude to a solitude; it begins and ends in silence.

Stored Magic
The lyric poem seeks to mesmerize time. It crosses frontiers and outwits the temporal. It can bridge the gulf between people otherwise unknown to each other.

The Immense Intimacy, the Intimate Immensity
The experience of reading poetry and the kind of knowledge it provides cannot be duplicated elsewhere.

Mere Air, These Words, but Delicious to Hear
From syllable to word to phrase to sentence, the sound of poetry is the source of its primitive pleasures.

In Plain American Which Cats and Dogs Can Read!
A lyric poem walks the line between speaking and singing. Poetry is not speech exactly and yet it is always in relationship to speech, to the spoken word.

Give a Common Word the Spell
The medium of poetry is language, our common property. It belongs to no one and to everyone. The precision of poetry restores language. It also defamiliarizes words by wrenching them from familiar or habitual contexts.

Metaphor: A Poet is a Nightingale
Metaphor drives the engine of poetry. Figurative language—figures of speech and thought—guides the interaction between poet and reader.

Epic, Drama, Lyric: Be Plentiful Like the Universe
Poems may be epic, lyric, dramatic, or a mixture of the three. Most poems find a way to defy these conventional categories.

Harmonious Sisters, Voice, and Vers
The lyric poem began as a work to be performed, to be sung or read aloud. Over time, the lyric transformed into a work for the page, for the reader to imagine in visual terms.

Winged Type
The poem appeals to the eye. It has a shapely dimension and thus relates to the plastic arts, especially painting. The poem is something to look at as well as to recite.

Out of the Cradle Endlessly Rocking
Rhythm is a form cut into time, as Ezra Pound said in ABC of Reading. It is the combination in English of stressed and unstressed syllables that creates a feeling of fixity and flux, of surprise and inevitability.

The Wave Always Returns
The poem is a muscular and composed thing. It moves like a wave, dissolving the literal. We participate in its flow as it moves from the eye to the ear, to the inner ear, the inner eye.

Help Me, O Heavenly Muse
Where does a poem come from? The sources of inspiration are many, from reason to a touch of madness.

It Is Something of an Accident That You Are the Reader and I the Writer
Reading poetry calls for an active reader. The reader must imaginatively collaborate with a poem to give voice to it."
edwardhirsch  poems  poetry  classideas  tutorials  howto  literature  words  meaning  meaningmaking  language 
april 2018 by robertogreco
What We Can Learn From Neruda's Poetry of Resistance
"Instances of social injustice, war, and the los of liberal democracy call us off the sidelines and into action. Neruda drastically adapted his poetry in response to crisis. At the start of the Spanish Civil War, he abandoned his desolate, introverted experimental poetry in favor of a decisive style, one that would compel others into action.

Whether we’re poets, teachers, readers, activists, or ordinary citizens who care about the world, we, too, can transform the way we express ourselves. In the era of social media, we don’t need to make pulp out of flags to transmit our message to the troops of resistance. We can all speak. We can all be part of the dialogue. And poetry can be part of the collective way we, in Neruda’s words, “explain some things.” From Neruda and others we can see how the act of expressing ourselves, and the act of hearing, are core components of resistance—and of poetry’s unique, enduring power."
pabloneruda  2018  poems  poetry  resistance  writing  chile  spain  españa  arieldorfman  pinochet  cantogeneral  spanishcivilwar  oppression  activism  war  gabrieljackson  franco  kwamealexander  ernesthemingway  langstonhughes  nancycunard  bahiashehab  markeisner  gabrielgonzálezvidela  federicogarcíalorca 
april 2018 by robertogreco
[Persian Letters] by Solmaz Sharif | Poetry Magazine
"Dear Aleph,

Like Ovid: I’ll have no last words.
This is what it means to die among barbarians. Bar bar bar
was how the Greeks heard our speech —
sheep, beasts — and so we became
barbarians. We make them reveal
the brutes they are, Aleph, by the things
we make them name. David,
they tell me, is the one
one should aspire to, but ever since
I first heard them say Philistine
I’ve known I am Goliath
if I am anything."
solmazsharif  poems  poetry  persian  2014 
april 2018 by robertogreco
marwahelal on Twitter: "𝙰𝚗𝚍, 𝚘𝚏 𝚌𝚘𝚞𝚛𝚜𝚎, 𝚊 𝚕𝚊𝚗𝚐𝚞𝚊𝚐𝚎 𝚒𝚜 𝚗𝚘𝚝 𝚖𝚎𝚛𝚎𝚕𝚢 𝚊 𝚋𝚘𝚍𝚢 𝚘𝚏 𝚟𝚘𝚌𝚊𝚋𝚞𝚕𝚊𝚛𝚢 𝚘𝚛 𝚊 𝚜𝚎
"𝙰𝚗𝚍, 𝚘𝚏 𝚌𝚘𝚞𝚛𝚜𝚎, 𝚊 𝚕𝚊𝚗𝚐𝚞𝚊𝚐𝚎 𝚒𝚜 𝚗𝚘𝚝 𝚖𝚎𝚛𝚎𝚕𝚢 𝚊 𝚋𝚘𝚍𝚢 𝚘𝚏 𝚟𝚘𝚌𝚊𝚋𝚞𝚕𝚊𝚛𝚢 𝚘𝚛 𝚊 𝚜𝚎𝚝 𝚘𝚏 𝚐𝚛𝚊𝚖𝚖𝚊𝚝𝚒𝚌𝚊𝚕 𝚛𝚞𝚕𝚎𝚜. 𝙸𝚝 𝚒𝚜 𝚊 𝚏𝚕𝚊𝚜𝚑 𝚘𝚏 𝚝𝚑𝚎 𝚑𝚞𝚖𝚊𝚗 𝚜𝚙𝚒𝚛𝚒𝚝, 𝚝𝚑𝚎 𝚖𝚎𝚊𝚗𝚜 𝚋𝚢 𝚠𝚑𝚒𝚌𝚑 𝚝𝚑𝚎 𝚜𝚘𝚞𝚕

𝚘𝚏 𝚎𝚊𝚌𝚑 𝚙𝚊𝚛𝚝𝚒𝚌𝚞𝚕𝚊𝚛 𝚌𝚞𝚕𝚝𝚞𝚛𝚎 𝚛𝚎𝚊𝚌𝚑𝚎𝚜 𝚒𝚗𝚝𝚘 𝚝𝚑𝚎 𝚖𝚊𝚝𝚎𝚛𝚒𝚊𝚕 𝚠𝚘𝚛𝚕𝚍. 𝙴𝚟𝚎𝚛𝚢 𝚕𝚊𝚗𝚐𝚞𝚊𝚐𝚎 𝚒𝚜 𝚊𝚗 𝚘𝚕𝚍 𝚐𝚛𝚘𝚠𝚝𝚑 𝚏𝚘𝚛𝚎𝚜𝚝 𝚘𝚏 𝚝𝚑𝚎 𝚖𝚒𝚗𝚍, 𝚊 𝚠𝚊𝚝𝚎𝚛𝚜𝚑𝚎𝚍 𝚘𝚏 𝚝𝚑𝚘𝚞𝚐𝚑𝚝, 𝚊𝚗 𝚎𝚗𝚝𝚒𝚛𝚎

𝚎𝚌𝚘𝚜𝚢𝚜𝚝𝚎𝚖 𝚘𝚏 𝚜𝚙𝚒𝚛𝚒𝚝𝚞𝚊𝚕 𝚙𝚘𝚜𝚜𝚒𝚋𝚒𝚕𝚒𝚝𝚒𝚎𝚜." - 𝚆𝚊𝚍𝚎 𝙳𝚊𝚟𝚒𝚜

Welcome to the VERNACULAR HOME, a @nomadreadings #crafttalk. Before we begin, I ask that if you are following along, that you engage these ideas by sharing them, faving, RTing, and chiming in with your own comments.

This talk is dedicated to all displaced peoples and all people who engage in creating a home of language on the page.

1. We’ve witnessed in recent years how advertisers have co-opted vernacular made popular by Black communities on this very platform and profited from it.

2. What these advertisers know is what any good poet knows: vernacular is the pathway to transformation. It is your first language — that language before you were aware of language. It is “like a howl, or a shout or a machine-gun or the wind or a wave,” K. Braithwaite writes.

3. Sidenote: Transformation has a cost but cannot be bought.

4. And as this scene from Spike Lee’s Malcolm X reminds https://www.youtube.com/watch?v=cfRDUsvu5fE , English is an inherently oppressive and racist language. As Malcolm X feels through this new insight into our language — a “con” as we’re told — he transforms and viewers are transformed with him.

5. Perfect segue to the next point…

6. If the poem does not transform (itself or the reader) it is not a poem. I repeat: If the work does not transform, what you have are words on a page — not a poem.

7. Let's now establish what vernacular [poetry] is.

8. Vernacular is a term used to express the idea that all languages are equal. It eliminates hierarchies of dialects vs. language.

As Baldwin writes in an essay I will share more of later, “...language functions as ‘a political instrument, means, and proof of power,’ and only politics separates a language from dialect.” (from the introduction by ed. Dohra Ahmed, Rotten English) https://bit.ly/2pXfk3h

9. Now that we’ve established what vernacular is, please don’t tell me you speak only one language...

10. Your dreams are a vernacular. Nature is a vernacular. Your sneaker collection is a vernacular! Signage: a vernacular. Your unique way of looking at the world: a vernacular. Your heartbeat: a vernacular. Breath: same, a vernacular.

Whenever I teach this material, I end up yelling “EVERYTHING IS VERNACULAR” by the end of every class. So get ready.

11. Building on that (pun intended), vernacular is also the synthesis between the language (words and symbols in any language) we choose, and how we construct it with grammar, punctuation, syntax and form.

12. It is inaccurate to say we are "decolonizing" a language. What we are doing is reclaiming it by colonizing it with our own vernaculars and inventing what it has failed to imagine. It is a language that has failed to imagine 𝘜𝘚. And so this craft talk is also a call

A call to pay attention to where this language has become dull, stale, and boring. A call to pay attention to intentional and unintentional connotations. And to undo those connotations. In undoing them, I ask that we create radical solutions for this language that troubles us.

13. “It was during the anti colonial struggles of the twentieth century that the latent political potential of vernacular literature fully emerged.

14. Our resistance is in the refusal to assimilate, the preservation of our native vernaculars, the creativity in that preservation.

It is in understanding that there is a particular language [they] want [us] to know -- that particular language that is taught in schools, and the rules or codes implied in that agreed upon language and resisting those implications or overturning those agreements.

15. June Jordan said, “Good poetry & successful revolution change our lives, & you cannot compose a good poem or wage a revolution without changing consciousness—unless you attack the language that you share with your enemies & invent a language that you share with your allies.”

Now, with these ideas in mind, let’s go into the texts…

Harryette Mullen, "We Are Not Responsible," "Elliptical" and "Denigration" from Sleeping with the Dictionary [3 images of text]

Note the attention to language, the transformation or awareness brought to the everyday humdrum of signage and those aforementioned 𝓬𝓸𝓷𝓷𝓸𝓽𝓪𝓽𝓲𝓸𝓷𝓼.

Note the attention to punctuation. Each poem uses exactly one form of punctuation in a very distinct way.

I will leave the joy of those discoveries to you! We have more to read...

Here, this breathtaking excerpt by @yosuheirhammad from “break (clear)”, breaking poems [image of text]

The Arabic words "ana" and "khalas" are doing overtime.

"ana" = I am and becomes "I am my" in the last two instances. "Khalas" stands on its own line in the first instance -- open to many translations: "enough," "stop," or "no more" and establishes its commitment to finality in that last line, "khalas all this breaking."

MORE! Solmaz Sharif’s “Persian Letters” https://www.poetryfoundation.org/poetrymagazine/poems/57580/persian-letters

Here the vernacular “bar bar bar” not only shows us the creation of a word: “barbarians” -- it holds a mirror up to the ones who made it.

“We make them reveal
the brutes they are, Aleph, by the things
we make them name.” - @nsabugsme

NOW Baldwin: “People evolve a language in order to describe and thus control their circumstances, or in order not to be submerged by a reality that they cannot articulate. (And, if they cannot articulate it, they are submerged.)”

"Black English is the creation of the black diaspora. Blacks came to the United States chained to each other, but from different tribes: Neither could speak the other's language. If two black people, at that bitter hour of the world's history, had been able to speak to each...

other, the institution of chattel slavery could never have lasted as long as it did. Subsequently, the slave was given, under the eye, and the gun, of his master, Congo Square, and the Bible--or in other words, and under these conditions, the slave began the formation of the

black church, and it is within this unprecedented tabernacle that black English began to be formed. This was not, merely, as in the European example, the adoption of a foreign tongue, but an alchemy that transformed ancient elements into a new language:

A language comes into existence by means of brutal necessity, and the rules of the language are dictated by what the language must convey.

Link to the full essay: “If Black English Isn’t a Language, Then Tell Me, What Is?” James Baldwin https://archive.nytimes.com/www.nytimes.com/books/98/03/29/specials/baldwin-english.html

Further reading: “Mother Tongue” by Amy Tan
Link: http://theessayexperiencefall2013.qwriting.qc.cuny.edu/files/2013/09/Mother-Tongue-by-Amy-Tan.pdf

I leave you with this poem by @kyle_decoy “American Vernacular” via @LambdaLiterary
https://www.lambdaliterary.org/features/poetry-spotlight/09/19/a-poem-by-kyle-dacuyan/ ]
marwahelal  language  poetry  writing  words  vernacular  culture  resistance  2018  jamesbaldwin  displacement  transformation  appropriation  malcolmx  english  poems  dohraahmed  grammar  punctuation  syntax  decolonization  colonization  assimilation  creativity  preservation  junejordan  harryettemullen  connotation  suheirhammad  solmazsharif  arabic  amytan  kyledacuyan 
april 2018 by robertogreco
What You Missed That Day You Were Absent From Fourth Grade, by Brad Aaron Modlin
"Mrs. Nelson explained how to stand still and listen
to the wind, how to find meaning in pumping gas,

how peeling potatoes can be a form of prayer. She took
questions on how not to feel lost in the dark.

After lunch she distributed worksheets
that covered ways to remember your grandfather’s

voice. Then the class discussed falling asleep
without feeling you had forgotten to do something else—

something important—and how to believe
the house you wake in is your home. This prompted

Mrs. Nelson to draw a chalkboard diagram detailing
how to chant the Psalms during cigarette breaks,

and how not to squirm for sound when your own thoughts
are all you hear; also, that you have enough.

The English lesson was that I am
is a complete sentence.

And just before the afternoon bell, she made the math equation
look easy. The one that proves that hundreds of questions,

and feeling cold, and all those nights spent looking
for whatever it was you lost, and one person

add up to something."
poems  poetry  schools  schooling  unschooling  education  learning  teaching  howweteach  howwelearn  bradmodlin  via:agentdana 
april 2018 by robertogreco
Hotel Berlin by Cynthia Cruz - Poems | Academy of American Poets
"In the rooms of a rundown palace
You said, Ruined. You said, Princess.

You said nothing to me
For three long weeks.

The color of that room
Is eel-black.

When I was a girl and still
German, I stood alone

At the end of the sea.
You may have loved me then

I sent a message through the cages
Of a great whale’s teeth.

For three weeks, I did not sleep.
I set jars of sweet milk and baskets

Of bright berries and red
Marmalade outside your door

In the dream
Where you come to me

I kiss your mouth
Tasting the secret

Letters of your history.
I swear

Somewhere in Siberia
A godly ocean of bison

Still roam free.
You, kneeling before me,

In this,
The last and final room."
poems  poetry  cynthiacruz 
march 2018 by robertogreco
Book Review: Love And Other Words I Mispronounced — ONI MAGAZINE
"Instead of layers of irony and distance that, like with the poets referenced above, add up to a superficial, sarcastic, hipster-ish voice what this book offers is a sincere expression, beauty in vulnerability, and self-reflection and a search for truth in the aftermath of an abusive relationship."
jamieberrout  poetry  instagtam  blogs  blogging  socialmedia  multimedia  gumroad  transgender  dictionaryofobscuresorrows  johnkoenig  kierra  loveandotherwords  words  poems  writing  books  vulnerability 
february 2018 by robertogreco
So what if we’re doomed? (Down the Dark Mountain) — High Country News
" Kingsnorth embraced Jeffers’ inhumanism, and Tompkins his ideas on beauty. But the immensity of the ecocide demands more. Our grief comes from the takers and their modern machine, which is one of violence and injury. If our sanity is to survive the ecocide, we must address these two pains in tandem: grief for the loss of things to come and the injustices that surround us.

We can do this through beauty and justice, which are closer together than they first appear."



"However, he is also arguing for integrity, which is close to Jeffers’ ideal of beauty: “However ugly the parts appear the whole remains beautiful. A severed hand / Is an ugly thing, and man dissevered from the earth and stars and his history ... for contemplation or in fact ... / Often appears atrociously ugly. Integrity is wholeness, the greatest beauty is / Organic wholeness, the wholeness of life and things, the divine beauty of the universe.”

Perhaps, then, the way through the ecocide is through the pursuit of integrity, a duty toward rebalancing the whole, toward fairness, in both senses of the word."



"This is no cause for despair; it is a reminder to be meaningful, to be makers instead of takers, to be of service to something — beauty, justice, loved ones, strangers, lilacs, worms."
apocalypse  climatechange  ecology  anthropocene  additivism  2017  briancalvert  paulkingsnorth  environment  environmentalism  california  poetry  justive  beauty  via:kissane  balance  earth  wholeness  integrity  robinsonjeffers  darkmountain  multispecies  posthumanism  morethanhuman  josephcampbell  ecocide  edricketts  davidbrower  sierraclub  johnstainbeck  anseladmas  outdoors  nature  humanity  humanism  edwardabbey  hawks  animals  wildlife  interconnected  inhumanism  elainescarry  community  communities  socialjustice  culture  chile  forests  refugees  violence  douglastompkins  nickbowers  shaunamurray  ta-nehisicoates  humanrights  qigong  interconnectivity 
february 2018 by robertogreco
Shira Erlichman on Twitter: "I teach writing. A lot. & If I had to distill the lesson that comes up the most it would be: Sensuality > Concepts Sensuality > Concepts Sensuality > Concepts Sensuality > Concepts Sensuality > Concepts Sensuality > Concepts"
[via:
"Dear poets-I-chaperone-through-the-process-of-exploring-creative-writing: this thread is to be considered #requiredreading. And then some."
https://twitter.com/jsamlarose/status/960434099524644864 ]

"I teach writing. A lot. & If I had to distill the lesson that comes up the most it would be:

Sensuality > Concepts
Sensuality > Concepts
Sensuality > Concepts
Sensuality > Concepts
Sensuality > Concepts
Sensuality > Concepts

Sure, I'd like to know what you think about the world. But only if I can trust that you can invite me into the world: sense by sense. If you write "That year was really hard for me" I don't know what year it is, I don't know what "hard" means for you. Give me bone, give me break.

If I wrote, "When we moved to the US my dad protected us" like, okay? What is protected? What do I mean? The same thing you mean? What if I said "We lived in a basement apartment. The first time I saw snow it blocked our whole front door. My dad dug us out."

& Then, there's so much room for specificity. "Aba" instead of "my dad." My language is not conceptual; it's based in migration, country, movement, slang, whozeewhats, whatevertheFiwant.

You are the only you, you-ing right now.

Be specific.

Be sensual.

Give us the gift of your aliveness.

The second thing that comes up the most when teaching is a total misunderstanding of editing. I get that. Because about 7 years ago I was really skeptical of a 2nd, let alone 19th draft. However, the palace I live in now is the Utter Joy of the (Literally) 21st Draft Palace.

What changed?

For one, I was writing so much that sometimes I'd go back (years later!) to an old 1st draft & see the second Russian Doll hiding inside it. "Whoa, that's weird," I thought & I'd open up that second Russian Doll. Behold, a third Russian Doll (draft) inside it. [image of Russian dolls]

I banished the idea of editing as boring, reductive. Poems were suddenly turned inside out, upside down. I'd find a hidden gem (an image, let's say) & like Sardines, there'd be all these possibilities tucked up beside it. Editing. Became. More. Creative. Than. Writing.

The proof was in the pudding. I'd write a poem, work on it with my little chisel for years & then BAE WOULD ARRIVE! This poem would suddenly strut, sing, thank ME! As if I hadn't been chasing her for her number all these years!

This poem, "Barometer," 2 years before publication basically read like a Dream Journal LOL. Not great. But necessary! Maybe if I get brave I'll post that first draft here. I send it to students to show them the journey!

https://preludemag.com/posts/ode-to-lithium-6-barometer/

Think about going 2 the doctor. When you go, you want a listener. Tenderness. Empathy. Thats how I approach a draft: How can I best listen to u? To whats hiding here? Can I have patience for ur glitches & starts? What might u already know––& if I ask the right questions––show me?

& Always remember baby!

There's nothing wasted!

Even if you get to draft 22 & throw that lil beast out. So what? So you sat there, refining & chiseling & flipping language & seeking secret caves & spelunking?

You're muscular as fuck for it. I promise. You'll glow for it."
shiraerlichman  writing  advice  howwerite  classideas  editing  poems  poetry  via:jslr  sensuality  aliveness  individuality  tenderness  empathy 
february 2018 by robertogreco
Michael Rosen: Recent squibs on education
"The thing is people didn’t know how to use emojis until the govt produced the Emoji Curriculum.

In the name of ‘raising standards’ but in reality bullying education into being a weapon in international competitiveness wars, the govt has unitised and monetised education. We shld reply with humanistic values to this onslaught.

Hey 4 year old, you are not a ‘4 year old’, you are a ‘stage’ , a developmental unit, a score on the way to being another score, a place on a graph, a monitored level, a number less than or more than another number...

“With his dark blue furry just-fitting, interesting hat on, which he had bought, he walked in.” = Good writing according to ‘Expected level’ National Curriculum.

embeddedrelativeclause
frontedAdverbial
expandednounphrase

Children whose names are not phonically regular must not try to read or write their names in Nursery, Reception or Year 1 in case it hinders their learning of how the alphabetic code works. [irony alert]

If Nursery, Reception or Yr1 children ask to see the writing in a non-phonically regular book, or try to read a cereal packet or a road sign, firmly grip the top of their head and turn it away from the words in question. See Bold Beginnings for more advice on this.

Why do you write poems, Michael?
So that children can be graded according to how well they ‘retrieve ‘ and ‘infer’ on a right/wrong grid devised by people who don’t like poetry."
michaelrosen  education  children  school  unschooling  deschooling  schooling  learning  poems  poetry  2018  inference  literature  emoji  standards  standardization  satire 
february 2018 by robertogreco
Ursula K. Le Guin: New poetry, November 2006
"Crows

Crows are the color of anarchy
and close up they’re a little scary.
An eye as bright as anything.
Having a pet crow would be
like having Voltaire on a string."

[more poems follow]
ursulaleguin  crows  2006  poems  poetry  corvids  via:tealtan 
january 2018 by robertogreco
Hip-Hop & Shakespeare? Akala at TEDxAldeburgh - YouTube
"Akala demonstrates and explores the connections between Shakespeare and Hip-Hop, and the wider cultural debate around language and it's power."
akala  hiphop  poetry  shakespeare  music  2011 
january 2018 by robertogreco
Akala - Knowledge is Power | London Real - YouTube
"18:06 Society is designed by the cultural appetites of the thinkers and maintained by the powerful.

19:22 Difference in expectations for public and state educated children. Benefits of the Saturday morning schools."

[via: https://twitter.com/ecomentario/status/953850955275079680 ]
education  akala  2014  schools  schooling  society  inequality  prisonindustrialcomplex  schooltoprisonpipeline  povery  racism  economics  meritocracy  politics  criticalthinking  criticalpedagogy  power  culture  unschooling  deschooling  music  football  soccer  activism  poetry  reading  writing  alberteinstein 
january 2018 by robertogreco
How to find your voice
"Young artists are always being told to “find your voice.”

Whatever that means!

I’ve never heard anyone explain it better than Billy Collins at a White House poetry workshop. I couldn’t find the text anywhere, so I transcribed it below. (If you’ve read Steal Like An Artist, this might sound really familiar…)
What I don’t like about the expression ‘finding your voice’ is that it’s very mystifying in the minds of young people. It makes you feel — made me feel when I first heard it — that your voice is tied up with your authenticity, that your voice lies deep within you, at some root bottom of your soul, and that to find your voice you need to fall into deep introspection… you have to gaze deeply into yourself. The frustration and the anxiety is that maybe you won’t find anything there. That you’re on this terrible quest to nowhere.

Let me reassure you that it’s not that mysterious. Your voice has an external source. It is not lying within you. It is lying in other people’s poetry. It is lying on the shelves of the library. To find your voice, you need to read deeply. You need to look inside yourself, of course, for material, because poetry is something that honors subjectivity. It honors your interiority. It honors what’s inside. But to find a way to express that, you have to look outside yourself.

Read widely, read all the poetry you can get your hands on. And in your reading, you’re searching for something. Not so much your voice. You’re searching for poets that make you jealous. Professors of writing call this “literary influence.” It’s jealousy. And it’s with every art, whether you play the saxophone, or do charcoal drawings. You’re looking to get influenced by people who make you furiously jealous.

Read widely. Find poets that make you envious. And then copy them. Try to get like them.

You know, you read a great poem in a magazine somewhere, and you just can’t stand the fact that you didn’t write it. What do you do? Well, you can’t get whiteout, and blank out the poet’s name and write yours in — that’s not fair. But you can say, “Okay, I didn’t write that poem, let me write a poem like that, that’s sort of my version of that.” And that’s basically the way you grow…

After you find your voice, you realize there’s really only one person to imitate, and that’s yourself. You do it by combining different influences. I think the first part of it is you do slavish imitations, which are almost like travesties, you know. But gradually you come under the right influences, picking and choosing, and being selective, and then maybe your voice is the combination of 6 or 8 other voices that you have managed to blend in such a way that no one can recognize the sources. You can take intimacy from Whitman, you can learn the dash from Emily Dickinson…you can pick a little bit from every writer and you combine them. This allows you to be authentic. That’s one of the paradoxes of the writing life: that the way to originality is through imitation.”


You can watch video of the whole workshop below. (Collins speaks at around the half hour mark.)"

[video: https://www.youtube.com/watch?v=CVIOKLXK9uY ]

[via: https://twitter.com/austinkleon/status/950133096610967552 ]
2015  2011  austinkleon  billcollins  writing  voice  multitude  poetry  art  beauty  personhood  williamcarloswilliams  influence  influences  remixing  agglomeration  authenticity  interconnectedness  interconnected  interconnectivity 
january 2018 by robertogreco
An Interview with Fred Moten, Part 1 | Literary Hub
"In Praise of Harold Bloom, Collaboration and Book Fetishes"

[See also: "An Interview with Fred Moten, Pt. II | Literary Hub: On Radical Indistinctness and Thought Flavor à la Derrida"
http://lithub.com/an-interview-with-fred-moten-pt-ii/ ]
fredmoten  interviews  2015  adamfitzgerald  jacquesderrida  tored  collaboration  poetry  music  jazz  improvisation 
january 2018 by robertogreco
Ask Dr. Time: Orality and Literacy from Homer to Twitter
"So, as to the original question: are Twitter and texting new forms of orality? I have a simple answer and a complex one, but they’re both really the same.

The first answer is so lucid and common-sense, you can hardly believe that it’s coming from Dr. Time: if it’s written, it ain’t oral. Orality requires speech, or song, or sound. Writing is visual. If it’s visual and only visual, it’s not oral.

The only form of genuine speech that’s genuinely visual and not auditory is sign language. And sign language is speech-like in pretty much every way imaginable: it’s ephemeral, it’s interactive, there’s no record, the signs are fluid. But even most sign language is at least in part chirographic, i.e., dependent on writing and written symbols. At least, the sign languages we use today: although our spoken/vocal languages are pretty chirographic too.

Writing, especially writing in a hyperliterate society, involves a transformation of the sensorium that privileges vision at the expense of hearing, and privileges reading (especially alphabetic reading) over other forms of visual interpretation and experience. It makes it possible to take in huge troves of information in a limited amount of time. We can read teleprompters and ticker-tape, street signs and medicine bottles, tweets and texts. We can read things without even being aware we’re reading them. We read language on the move all day long: social media is not all that different.

Now, for a more complicated explanation of that same idea, we go back to Father Ong himself. For Ong, there’s a primary orality and a secondary orality. The primary orality, we’ve covered; secondary orality is a little more complicated. It’s not just the oral culture of people who’ve got lots of experience with writing, but of people who’ve developed technologies that allow them to create new forms of oral communication that are enabled by writing.

The great media forms of secondary orality are the movies, television, radio, and the telephone. All of these are oral, but they’re also modern media, which means the media reshapes it in its own image: they squeeze your toothpaste through its tube. But they’re also transformative forms of media in a world that’s dominated by writing and print, because they make it possible to get information in new ways, according to new conventions, and along different sensory channels.

Walter Ong died in 2003, so he never got to see social media at its full flower, but he definitely was able to see where electronic communications was headed. Even in the 1990s, people were beginning to wonder whether interactive chats on computers fell under Ong’s heading of “secondary orality.” He gave an interview where he tried to explain how he saw things — as far as I know, relatively few people have paid attention to it (and the original online source has sadly linkrotted away):
“When I first used the term ‘secondary orality,’ I was thinking of the kind of orality you get on radio and television, where oral performance produces effects somewhat like those of ‘primary orality,’ the orality using the unprocessed human voice, particularly in addressing groups, but where the creation of orality is of a new sort. Orality here is produced by technology. Radio and television are ‘secondary’ in the sense that they are technologically powered, demanding the use of writing and other technologies in designing and manufacturing the machines which reproduce voice. They are thus unlike primary orality, which uses no tools or technology at all. Radio and television provide technologized orality. This is what I originally referred to by the term ‘secondary orality.’

I have also heard the term ‘secondary orality’ lately applied by some to other sorts of electronic verbalization which are really not oral at all—to the Internet and similar computerized creations for text. There is a reason for this usage of the term. In nontechnologized oral interchange, as we have noted earlier, there is no perceptible interval between the utterance of the speaker and the hearer’s reception of what is uttered. Oral communication is all immediate, in the present. Writing, chirographic or typed, on the other hand, comes out of the past. Even if you write a memo to yourself, when you refer to it, it’s a memo which you wrote a few minutes ago, or maybe two weeks ago. But on a computer network, the recipient can receive what is communicated with no such interval. Although it is not exactly the same as oral communication, the network message from one person to another or others is very rapid and can in effect be in the present. Computerized communication can thus suggest the immediate experience of direct sound. I believe that is why computerized verbalization has been assimilated to secondary ‘orality,’ even when it comes not in oral-aural format but through the eye, and thus is not directly oral at all. Here textualized verbal exchange registers psychologically as having the temporal immediacy of oral exchange. To handle [page break] such technologizing of the textualized word, I have tried occasionally to introduce the term ‘secondary literacy.’ We are not considering here the production of sounded words on the computer, which of course are even more readily assimilated to ‘secondary orality’” (80-81).

So tweets and text messages aren’t oral. They’re secondarily literate. Wait, that sounds horrible! How’s this: they’re artifacts and examples of secondary literacy. They’re what literacy looks like after television, the telephone, and the application of computing technologies to those communication forms. Just as orality isn’t the same after you’ve introduced writing, and manuscript isn’t the same after you’ve produced print, literacy isn’t the same once you have networked orality. In this sense, Twitter is the necessary byproduct of television.

Now, where this gets really complicated is with stuff like Siri and Alexa, and other AI-driven, natural-language computing interfaces. This is almost a tertiary orality, voice after texting, and certainly voice after interactive search. I’d be inclined to lump it in with secondary orality in that broader sense of technologically-mediated orality. But it really does depend how transformative you think client- and cloud-side computing, up to and including AI, really are. I’m inclined to say that they are, and that Alexa is doing something pretty different from what the radio did in the 1920s and 30s.

But we have to remember that we’re always much more able to make fine distinctions about technology deployed in our own lifetime, rather than what develops over epochs of human culture. Compared to that collision of oral and literate cultures in the Eastern Mediterranean that gave us poetry, philosophy, drama, and rhetoric in the classical period, or the nexus of troubadours, scholastics, printers, scientific meddlers and explorers that gave us the Renaissance, our own collision of multiple media cultures is probably quite small.

But it is genuinely transformative, and it is ours. And some days it’s as charming to think about all the ways in which our heirs will find us completely unintelligible as it is to imagine the complex legacy we’re bequeathing them."
2018  timcarmody  classics  homer  literature  poetry  literacy  orality  odyssey  walterong  secondaryorality  writing  texting  sms  twitter  socialmedia  technology  language  communication  culture  oraltradition  media  film  speech  signlanguage  asl  tv  television  radio  telephones  phones 
january 2018 by robertogreco
Olio by Tyehimba Jess | Wave Books
"With ambitious manipulations of poetic forms, Tyehimba Jess presents the sweat and story behind America’s blues, worksongs and church hymns. Part fact, part fiction, Jess's much anticipated second book weaves sonnet, song, and narrative to examine the lives of mostly unrecorded African American performers directly before and after the Civil War up to World War I. Olio is an effort to understand how they met, resisted, complicated, co-opted, and sometimes defeated attempts to minstrelize them."
poetry  books  2017  poems  toread  tyehimbajess 
january 2018 by robertogreco
Translations by Kathryn Nuernberger | Poetry Foundation
"I want to believe we can’t see anything
we don’t have a word for.

When I look out the window and say green, I mean sea green,
I mean moss green, I mean gray, I mean pale and also
electrically flecked with white and I mean green
in its damp way of glowing off a leaf.

Scheele’s green, the green of Renaissance painters,
is a sodium carbonate solution heated to ninety degrees
as arsenious oxide is stirred in. Sodium displaces copper,
resulting in a green precipitate that is sometimes used
as insecticide. When I say green I mean
a shiny green bug eating a yellow leaf.

Before synthetics, not every painter could afford a swathe
of blue. Shocking pink, aka neon, aka kinky pink,
wasn’t even on the market. I want to believe Andy Warhol
invented it in 1967 and ever since no one’s eyes
have been the same. There were sunsets before,
but without that hot shocking neon Marilyn, a desert sky
was just cataract smears. I want to believe this.

The pale green of lichen and half-finished leaves
filling my window is a palette very far from carnation
or bougainvillea, but to look out is to understand it is not,
is to understand what it is not. I stare out the window a lot.
Between the beginning and the end the leaves unfolded.
I looked out one morning and everything was unfamiliar
as if I was looking at the green you could only see
if you’d never known synthetic colors existed.

I’ve drawn into myself people say.
We understand, they say.

There are people who only have words for red
and black and white, and I wonder if they even see
the trees at the edge of the grass
or the green storms coming out of the west.
There are people who use the same word for green
and red and brown, and I wonder if red
seems so urgently bright pouring from the body
when there is no green for it to fall against.

In his treatise on color Wittgenstein asked,
“Can’t we imagine certain people
having a different geometry of colour than we do?”

I want to believe the eye doesn’t see green until it has a name,
because I don’t want anything to look the way it did before.

Van Gogh painted pink flowers, but the pink faded
and curators labeled the work “White Roses” by mistake.

The world in my window is a color the Greeks called chlorol.
When I learned the word I was newly pregnant
and the first pale lichens had just speckled the silver branches.
The pines and the lichens in the chill drizzle were glowing green
and a book in my lap said chlorol was one of the untranslatable
words. The vibrating glow pleased me then, as a finger
dipped in sugar pleased me then. I said the word aloud
for the baby to hear. Chlorol. I imagined the baby
could only see hot pink and crimson inside its tiny universe,
but if you can see what I’m seeing, the word for it
is chlorol. It’s one of the things you’ll like out here.

Nineteenth century critics mocked painters who cast shadows
in unexpected colors. After noticing green cypresses do drop red
shadows, Goethe chastised them. “The eye demands
completeness and seeks to eke out the colorific circle in itself.”
He tells of a trick of light that had him pacing a row of poppies
to see the flaming petals again and figure out why.

Over and over again Wittgenstein frets the problem of translucence.
Why is there no clear white?
He wants to see the world through white-tinted glasses,
but all he finds is mist.

At first I felt as if the baby had fallen away
like a blue shadow on the snow.

Then I felt like I killed the baby
in the way you can be thinking about something else
and drop a heavy platter by mistake.

Sometimes I feel like I was stupid
to have thought I was pregnant at all.

Color is an illusion, a response to the vibrating universe
of electrons. Light strikes a leaf and there’s an explosion
where it lands. When colors change, electromagnetic fields
are colliding. The wind is not the only thing moving the trees.

Once when I went into those woods I saw a single hot pink orchid
on the hillside and I had to keep reminding myself not to
tell the baby about the beautiful small things I was seeing.
So, hot pink has been here forever and I don’t even care
about that color or how Andy Warhol showed me an orchid.
I hate pink. It makes my eyes burn."
vi:datatellign  poetry  names  naming  colors  words  green  kathrynnuernberger  wittgenstein  goethe  vangogh  andywarhol  illusion  vision  sight  seeing  pink  color  eyes 
january 2018 by robertogreco
HemiPress –
"HemiPress is the Hemispheric Institute’s digital publications imprint, created to house and centralize our diverse publication initiatives. Using a variety of customized open-source digital humanities platforms, HemiPress includes the Gesture short works series, the Duke U.P./HemiPress digital books, stand-alone essays, and the Institute’s peer-reviewed journal emisférica, alongside interviews, Cuadernos, and other online teaching resources. It also provides state-of-the-art multilingual publication capacities and immersive formats for capturing the “live” of performance, as well as a digital “bookshelf”—the interface that houses all of the Institute’s publications and connects communities of readers across the Americas."

[Digital Books:
https://hemi.press/digital-books/

"The Hemispheric Institute's focus on embodied practice requires both methodological and technological innovation. Through our Digital Books initiative, which utilizes both the Scalar and Tome publication platforms, we seek to create media-rich scholarly publications in order to produce and disseminate knowledge across geographic, linguistic, disciplinary, and mediatic borders. Staging a unique intervention in the field of academic publishing, Digital Books allows authors to utilize not only images and video, but also multilingual subtitles, maps and geotags, audio recordings, slideshows, and photo-essays, alongside other interactive features. Whether solo-authored, collaboratively written, or compiled as an edited volume, this critical initiative invites scholars, artists, activists, and students to explore the expansive possibilities of digital publishing in a hemispheric context."



"Tome [http://tome.press/ ] is an online authoring tool that facilitates long-form publishing in an immersive, media-rich environment. Built on the WordPress framework and in collaboration with the Hemispheric Institute, Tome features a suite of custom plugins that empowers scholars, students, and artists to create innovative born-digital work. Recent Tome publications include El Ciervo Encantado: An Altar in the Mangroves (Lillian Manzor and Jaime Gómez Triana), Art, Migration, and Human Rights: A collaborative dossier by artists, scholars, and activists on the issue of migration in southern Mexico, Villa Grimaldi (Diana Taylor), and six gestures (peter kulchyski)."



"Scalar [https://scalar.me/anvc/ ] is a free, open source authoring and publishing platform that’s designed to make it easy for authors to write long-form, born-digital scholarship online. Scalar enables users to assemble media from multiple sources and juxtapose them with their own writing in a variety of ways, with minimal technical expertise required. Scalar also gives authors tools to structure essay- and book-length works in ways that take advantage of the unique capabilities of digital writing, including nested, recursive, and non-linear formats. The platform also supports collaborative authoring and reader commentary."]

[See also: emisférica
https://hemi.press/emisferica/

"emisférica is the Hemispheric Institute’s peer-reviewed, online, trilingual scholarly journal. Published biannually, journal issues focus on specific areas of inquiry in the study of performance and politics in the Americas. The journal publishes academic essays, multimedia artist presentations, activist interventions, and translations, as well as book, performance, and film reviews. Its languages are English, Spanish, and Portuguese."



"Dossier: Our dossiers are organized around a given theme and feature short texts, interviews, artworks, poetry, and video."



"Essays: We publish invited essays, essays submitted through our open calls, and translations of significant previously published works."



"Reviews: We review books, films, and performances from throughout the Americas"



"Multimedios: Multimedios are digital modules that feature the work of individual artists, artist collectives, curatorial projects, and activists movements. These video and photography, interviews, catalogue texts, essays, and critical reviews."]
publishing  americas  latinamerica  ebooks  epublishing  opensource  español  spanish  portugués  portuguese  digital  digitalpublishing  books  journals  multimedia  photography  poetry  video  art  wordpress  webdev  onlinetoolkit  scalar  hemipress 
january 2018 by robertogreco
Critic and poet Fred Moten is profiled by Jesse McCarthy | Harvard Magazine
"IN 2013, a manifesto entitled The Undercommons: Fugitive Planning & Black Study began making the rounds among the growing pool of nervous graduate students, harried adjuncts, un-tenured professors, and postdocs whirling through the nation’s faculty lounges. The Undercommons was published by the small anarchist press Autonomedia and made freely available for download; in practice, however, it circulated by word of mouth, copies of the PDF forwarded like samizdat literature for those in the know. On the surface, the text is an analysis of alienated academic labor at the contemporary American university. But it’s also more radical than that: it is a manual for free thinking, a defiant call to dissent within educational institutions that betray their liberal credos, filling their coffers even as they prepare students, armed with liberal arts degrees and “critical thinking” skills, to helm a social and economic order in which, “to work…is to be asked, more and more, to do without thinking, to feel without emotion, to move without friction, to adapt without question, to translate without pause, to desire without purpose, to connect without interruption.”

For those with little or no knowledge of black studies, the text’s deployment of terms like “fugitivity” and “undercommons” may seem baffling. To those in the circle, however, this lexicon of continental philosophy, remixed with a poetic and prophetic fire resembling Amiri Baraka’s, bears the signature of one of the most brilliant practitioners of black studies working today: the scholar and poet Fred Moten ’84."



"This past fall, Moten took up a new position in the department of performance studies at New York University’s Tisch School of the Arts, arriving from Los Angeles and a teaching appointment at the University of California at Riverside. In early September, his office was still a bare room with a single high window looking out over Broadway. He hadn’t had a chance to unpack his library, but already a small stack of books on jazz theory, performance, and quantum mechanics rested in a pile near his desk. It soon became clear, however, that he is the kind of thinker who keeps all his favorite books in his head, anyway. His Paul Laurence Dunbar is always at his fingertips, and he weaves passages from Karl Marx, Immanuel Kant, or Hortense Spillers into his conversation with equal facility.

In someone else this learnedness could come off as intimidating, but in Moten it’s just the opposite. Something about his composure, his relaxed attentiveness, the way he shakes his head with knowing laughter as he pauses over the direction he’s about to take with a question, instantly erases any stuffiness: one can imagine the exact same conversation taking place on the sidelines of a cookout. And then there’s his voice: warm, low, and propelled by a mellow cadence that breaks complex clauses into neat segments, their hushed, conspiratorial air approaching aphorism. At one point, Moten asked about my dissertation, which I confessed, sheepishly, was kind of a mess. His eyes lit up. He leaned back with a wide grin, his hands spreading out in front of him. “You know what a mess is?” He said. “In Arkansas, a mess is a unit of measure. Like of vegetables. Where my people come from folks might say: ‘You want a bushel?’ And you’ll say, ‘Nah, I want a mess.’ You know, like that great James Brown line: ‘Nobody can tell me how to use my mess.’ It’s a good thing to have. A mess is enough for a meal.”"



"One difficulty for outside readers encountering Moten’s work is that he tends to engage more with the avant-garde than with pop. It’s easy to see why the art world has embraced him: his taste gravitates toward the free-jazz end of the spectrum so strongly it’s as if he were on a mission, striving to experience all of creation at once—to play (as the title of a favorite Cecil Taylor album puts it) All the Notes. This spring, Moten is teaching a graduate course based on the works of choreographer Ralph Lemon and artist Glenn Ligon. In recent years he has collaborated with the artist Wu Tsang on installation and video art pieces, where they do things like practice the (slightly nostalgic) art of leaving voicemail messages for each other every day for two weeks without ever connecting, just riffing off snippets from each other’s notes. In another video short directed by Tsang, Moten—wearing a caftan and looking Sun Ra-ish—is filmed in “drag-frame” slow motion dancing to an a cappella rendition of the jazz standard “Girl Talk.”

By way of explanation, Moten recalls his old neighborhood. “I grew up around people who were weird. No one’s blackness was compromised by their weirdness, and by the same token,” he adds, “nobody’s weirdness was compromised by their blackness.” The current buzz (and sometimes backlash) over the cultural ascendancy of so-called black nerds, or “blerds,” allegedly incarnated by celebrities like Donald Glover, Neil deGrasse Tyson, or Issa Rae, leaves him somewhat annoyed. “In my mind I have this image of Sonny Boy Williamson wearing one of those harlequin suits he liked to wear. These dudes were strange, and I always felt that’s just essential to black culture. George Clinton is weird. Anybody that we care about, that we still pay attention to, they were weird.”

Weirdness for Moten can refer to cultural practices, but it also describes the willful idiosyncracy of his own work, which draws freely from tributaries of all kinds. In Black and Blur, the first book of his new three-volume collection, consent not to be a single being (published by Duke University Press), one finds essays on the Congolese painter Tshibumba Kanda-Matulu and C.L.R. James, François Girard’s Thirty Two Short Films About Glenn Gould, a comparison between Trinidadian calypso and Charles Mingus records composed in response to the Little Rock Nine, David Hammon’s art installation Concerto in Black and Blue, Wittgenstein and the science fiction of Samuel Delany, a deconstruction of Theodor Adorno’s writings on music and a reconstruction of Saidiya Hartman’s arguments on violence. Sometimes the collision can happen within a single sentence: “Emily Dickinson and Harriet Jacobs, in their upper rooms, are beautiful,” he writes. “They renovate sequestration.”

Taken together, Moten’s writings feel like a Charlie Parker solo, or a Basquiat painting, in their gleeful yet deadly serious attempt to capture the profusion of ideas in flight. For him this fugitive quality is the point. We are not supposed to be satisfied with clear understanding, but instead motivated to continue improvising and imagining a utopian destination where a black cosmopolitanism—one created from below, rather than imposed from above—brings folks together.

For Moten, this flight of ideas begins in the flight of bodies: in the experience of slavery and the Middle Passage, which plays a crucial role in his thinking. “Who is more cosmopolitan than Equiano?” he asks rhetorically, citing the Igbo sailor and merchant who purchased his own freedom, joined the abolitionist movement in England, and published his famous autobiography in 1789. “People think cosmopolitanism is about having a business-class seat. The hold of the ship, among other things, produces a kind of cosmopolitanism, and it’s not just about contact with Europeans and transatlantic travel. When you put Fulani and Igbo together and they have to learn how to speak to each other, that’s also a language lab. The historical production of blackness is cosmopolitanism.”

What can one learn from the expression of people who refuse to be commodities, but also once were commodities? What does history look like, or the present, or the future, from the point of view of those who refuse the norms produced by systems of violence: who consent not to be a single being? These key concerns course through the entirety of Moten’s dazzling new trilogy, which assembles all his theoretical writings since In the Break. At a time of surging reactionary politics, ill feeling, and bad community, few thinkers seem so unburdened and unbeholden, so confident in their reading of the historical moment. Indeed, when faced with the inevitable question of the state of U.S. politics, Moten remains unfazed. “The thing I can’t stand is the Trump exceptionalism. Remember when Goldwater was embarrassing. And Reagan. And Bush. Trump is nothing new. This is what empire on the decline looks like. When each emperor is worse than the last.”

* * *

A THESIS that has often been attractive to black intellectuals (held dear, for example, by both W.E.B. Du Bois and Ralph Ellison) was that the United States without black people is too terrifying to contemplate; that all the evidence, on balance, suggests that blackness has actually been the single most humanizing—one could even say, slyly, the only “civilizing”—force in America. Moten takes strong exception. “The work of black culture was never to civilize America—it’s about the ongoing production of the alternative. At this point it’s about the preservation of the earth. To the extent that black culture has a historic mission, and I believe that it does—its mission is to uncivilize, to de-civilize, this country. Yes, this brutal structure was built on our backs; but if that was the case, it was so that when we stood up it would crumble.”

Despite these freighted words, Moten isn’t the brooding type. He’s pleased to be back in New York City, where he’ll be able to walk, instead of drive, his kids to school. He’s hopeful about new opportunities for travel, and excited to engage with local artists and poets. His wife, cultural studies scholar Laura Harris, is working on a study of the Brazilian artist Hélio Oiticica, who is currently being “re-discovered” by American artists and critics. “I circulate babylon and translate for the new times,” opens another poem in The Feel Trio, … [more]
fredmoten  2017  2013  highereducation  highered  work  labor  anarchism  race  slavery  blackstudies  dissent  radicalism  via:javierarbona  resistance  blackness  bodies  aesthetics  amiribaraka  dukeellington  adrianpiper  billieholiday  nathanielmackey  poetry  scholarship  academia  rebellion  subversion  karlmarx  marxism  hortensespillers  kant  paullaurencedunbar  attentiveness  messes  messiness  johnashbery  ralphellison  webdubois  everyday  writing  undercommons  margins  liminality  betweenness  alternative  preservation  uncivilization  decivilization  consent  empire  imperialism  body  objects  cosmopolitanism  charlieparker  basquiat  weirdness  donaldglover  neildegrassetyson  issarae  georgeclinton  tshibumbakanda-matulu  charlesmingus  samueldelany  saidiyahartman  clrjames  françoisgirard  davidhammon  héliooiticica  lauraharris  charlesolson  susanhowe  criticism  art  stefanoharney  jacquesderrida  jean-michelbasquiat  theodoradorno 
december 2017 by robertogreco
If it takes a cold plums meme to learn about poetry, so be it
"For some reason, William Carlos Williams' poem about stealing plums from an icebox is getting the remix treatment."

[See also: "This is just to say we have explained the plum jokes in your Twitter feed: How William Carlos Williams’s famous poem about plums in the icebox became a meme."
https://www.vox.com/2017/12/1/16723210/this-is-just-to-say-plums-twitter-baby-shoes ]
poetry  twitter  memes  2017  williamcarloswilliams 
november 2017 by robertogreco
////////// from “Commitment from the Mirror-Writing Box,” Trinh T. Minh-Ha, Woman, Native, Other
"Nothing could be more normative, more logical, and more authoritarian than, for example, the (politically) revolutionary poetry or prose that speaks of revolution in the form of commands or in the well-behaved, steeped-in-convention-language of “clarity.” (”A wholesome, clear, and direct language” is said to be “the fulcrum to move the mass or to sanctify it.”) Clear expression, often equated with correct expression, has long been the criterion set forth in treatises on rhetoric, whose aim was to order discourse so as to persuade. The language of Taoism and Zen, for example, which is perfectly accessible but rife with paradox does not qualify as “clear” (paradox is “illogical” and “nonsensical” to many Westerners), for its intent lies outside the realm of persuasion. The same holds true for vernacular speech, which is not acquired through institutions — schools, churches, professions, etc. — and therefore not repressed by either grammatical rules, technical terms, or key words. Clarity as a purely rhetorical attribute serves the purpose of a classical feature in language, namely, its instrumentality. To write is to communicate, express, witness, impose, instruct, redeem, or save — at any rate to mean and to send out an unambiguous message. Writing thus reduced to a mere vehicle of thought may be used to orient toward a goal or to sustain an act, but it does not constitute an act in itself. This is how the division between the writer/the intellectual and the activists/the masses becomes possible. To use the language well, says the voice of literacy, cherish its classic form. Do not choose the offbeat at the cost of clarity. Obscurity is an imposition on the reader. True, but beware when you cross railroad tracks for one train may hide another train. Clarity is a means of subjection, a quality both of official, taught language and of correct writing, two old mates of power; together they flow, together they flower, vertically, to impose an order. Let us not forget that writers who advocate the instrumentality of language are often those who cannot or choose not to see the suchness of things — a language as language — and therefore, continue to preach conformity to the norms of well-behaved writing: principles of composition, style, genre, correction, and improvement. To write “clearly,” one must incessantly prune, eliminate, forbid, purge, purify; in other words, practice what may be called an “ablution of language” (Roland Barthes)."

— from “Commitment from the Mirror-Writing Box,” Trinh T. Minh-Ha, Woman, Native, Other

[See also PDF of full text in a couple of places:
http://www.sjsu.edu/people/julie.hawker/courses/c1/s2/Trinh-T-Minh-ha-1989.pdf
https://lmthomasucsd.files.wordpress.com/2009/06/minh-ha-reading.pdf ]
trinhminh-ha  rolandbarthes  literacy  clarity  writing  language  taoism  zen  buddhism  persuasion  authority  authoritarianism  power  control  tradition  poetry  prose  canon  rhetoric  grammar  rules  expression  classics  communication  subjection  instrumentality  beauty  style  genre  composition  correction  improvement  purification  speech  vernacular  schools  churches  professions  professionalism  convention  conventions 
november 2017 by robertogreco
The Sun and Her Flowers | CBC Books
"this is the recipe of life
said my mother
as she held me in her arms as i wept
think of those flowers you plant
in the garden each year 
they will teach you
that people too
must wilt
fall
root
rise
in order to bloom"
poems  poetry  life  teaching  sfsh  rupikaur  growth  plants  humans  human 
november 2017 by robertogreco
The Rider by Naomi Shihab Nye - Poems | Academy of American Poets
"A boy told me
if he roller-skated fast enough
his loneliness couldn’t catch up to him,
the best reason I ever heard
for trying to be a champion.
What I wonder tonight
pedaling hard down King William Street
is if it translates to bicycles.
A victory! To leave your loneliness
panting behind you on some street corner
while you float free into a cloud of sudden azaleas,
pink petals that have never felt loneliness,
no matter how slowly they fell."
naomishihabnye  loneliness  poems  poetry  1952 
november 2017 by robertogreco
RITES OF PASSAGE (To MLK jr.) by Audre Lorde. | African American Registry
"Now rock the boat to a fare-thee-well.
Once we suffered dreaming
into a place where the children are playing
their child’s games
where children are hoping
knowledge survives
if unknowing they follow the game
without winning.

Their fathers are dying
back to the freedom of wise children playing
at knowing
their fathers are dying
whose deaths will not free them
of growing from knowledge
of knowing
when the game becomes foolish
a dangerous pleading
for time out of power.
Quick
children kiss us
we are growing through dream..."
audrelorde  ritesofpassage  poems  poetry  children  games  play  power 
october 2017 by robertogreco
Power by Audre Lorde | Poetry Foundation
"The difference between poetry and rhetoric
is being ready to kill
yourself
instead of your children.

I am trapped on a desert of raw gunshot wounds
and a dead child dragging his shattered black
face off the edge of my sleep
blood from his punctured cheeks and shoulders
is the only liquid for miles
and my stomach
churns at the imagined taste while
my mouth splits into dry lips
without loyalty or reason
thirsting for the wetness of his blood
as it sinks into the whiteness
of the desert where I am lost
without imagery or magic
trying to make power out of hatred and destruction
trying to heal my dying son with kisses
only the sun will bleach his bones quicker.

A policeman who shot down a ten year old in Queens
stood over the boy with his cop shoes in childish blood
and a voice said “Die you little motherfucker” and
there are tapes to prove it. At his trial
this policeman said in his own defense
“I didn't notice the size nor nothing else
only the color”. And
there are tapes to prove that, too.

Today that 37 year old white man
with 13 years of police forcing
was set free
by eleven white men who said they were satisfied
justice had been done
and one Black Woman who said
“They convinced me” meaning
they had dragged her 4'10'' black Woman's frame
over the hot coals
of four centuries of white male approval
until she let go
the first real power she ever had
and lined her own womb with cement
to make a graveyard for our children.

I have not been able to touch the destruction
within me.
But unless I learn to use
the difference between poetry and rhetoric
my power too will run corrupt as poisonous mold
or lie limp and useless as an unconnected wire
and one day I will take my teenaged plug
and connect it to the nearest socket
raping an 85 year old white woman
who is somebody's mother
and as I beat her senseless and set a torch to her bed
a greek chorus will be singing in 3/4 time
“Poor thing. She never hurt a soul. What beasts they are.”"
audrelorde  poems  poetry  power  1978 
october 2017 by robertogreco
Jen Bervin: Artist as Researcher de Make/Time
"Jen Bervin’s interdisciplinary work often combines art, science and writing. One recent project is Silk Poems, a poem written nanoscale in the form of a silk biosensor in collaboration with Tufts University’s Silk Lab, and also published as a book. Another project, The Dickinson Composite Series, is a series of large-scale embroideries that depict the variant markings in Emily Dickinson’s original manuscripts. Jen's work as a poet and visual artist takes her in surprising directions. She says, “I love research because I don’t know what I’ll find.”

Make/Time shares conversations about craft, inspiration, and the creative process. Listen to leading makers and thinkers talk about where they came from, what they're making, and where they're going next. Make/Time is hosted by Stuart Kestenbaum and is a project of craftschools.us. Major funding is provided by the Windgate Charitable Foundation."

[via:

"I love @jenbervin's work. @tchoi8, if you don't know about it already, you should :)
via https://twitter.com/jenbervin/status/920512592409513984"
https://twitter.com/shannonmattern/status/920517416211419136 ]
jenbervin  art  research  interdisciplinary  science  2017  poetry  making  drawing  creating  artists  silk  writing  tolisten 
october 2017 by robertogreco
OBJECT AMERICA
"The Observational Practices Lab, Parsons, (co-directed by Pascal Glissmann and Selena Kimball) launches a multi-phase project and investigation, OBJECT AMERICA, to explore the idea of “America” through everyday objects. The aim is to use comparative research and observational methods—which may range from the scientific to the absurd—to expose unseen histories and speculate about the future of the country as a concept. The contemporary global media landscape is fast-moving and undercut by “fake news” and “alternative facts” which demands that students and researchers build a repertoire of strategies to assess and respond to sources of information. For the first phase of OBJECT AMERICA launching in the fall of 2017, we invited Ellen Lupton, Senior Curator of Contemporary Design at Cooper Hewitt, Smithsonian Design Museum, to choose an object for this investigation which she believed would represent “America” into the future (she chose the Model 500 Telephone by Henry Dreyfuss designed in 1953). Researchers will investigate this object through different disciplinary lenses — including art, climate science, cultural geography, data visualization, economics, history of mathematics, medicine, media theory, material science, music, poetry, and politics — in order to posit alternative ways of seeing."

[via: https://twitter.com/shannonmattern/status/915366114753990660 ]
objects  pascalglissmann  selenakimball  ellenlupton  art  climate  science  culturalgeography  datavisualization  economics  mathematics  math  medicine  mediatheory  materialscience  music  poetry  politics  seeing  waysofseeing  geography  culture  history  climatescience  dataviz  infoviz 
october 2017 by robertogreco
Poetic Computation: Reader
"Greetings. Welcome to the first class of Poetics and Politics of Computation at the School for Poetic Computation(SFPC). I’d like to begin the class by asking “What is poetic computation?” First, there is the poetics of code, which refers to code as a form of poetry. There is something poetic about code itself, the way that syntax works, the way that repetitions work, and the way that instruction becomes execution through abstraction. There is also what I call the poetic effect of code, which is an aesthetic experience realized through code. In other words, when the mechanics of words are in the right place, the language transcends its constraints and rules, and in turn, creates this poetic effect whereby thought is transformed into experience.

Together, the poetics of code and the poetic effect of code form ‘poetic computation.’ The terms code and computation are often used interchangeably, but I should note that code is only one aspect of computation. Code is a series of instruction for computation that requires logical systems and hardware to make the instructions computable. In that sense, computation is a higher level concept than code. For our purposes, however, we can use poetics of code and poetics of computation interchangeably throughout these discussions.

To a non-coder, non-artist friend, or to those just beginning to learn to program, I often say code may look like poetry in an alien language. And to those more experienced with code, writing code sometimes feels like writing poetry because it doesn’t always ‘work.’ I mean two things by ‘work’: first, does it work as an art form? Is it good poetry? On the other hand, I mean ‘work’ in a more utilitarian sense. Does it have practical application?

At SFPC, we like to think that poetic computation is when language meets mathematics, and logic meets electricity. Sometimes, poetic computation is literally writing poems with code. Some of our teachers and students write poetry with algorithms to explore what the language can do. When we started the school, a lot of people asked if the school is for generative poetry or electronic literature. We clarified that while we are definitely interested in the intersection of language and computation, we want to explore a broader definition of the ‘poetic.’ We want to investigate the art of computation as well as the expressive qualities of code, including its aesthetic, visual, aural and material aspects.

While this artistic potential lies at the core of the school’s excitement about code and computation, I’m interested in how this turn towards art may help us explore political possibilities. In this class, I consider computation to be a lens for examining reality and thinking about emergent issues in the world. In other words, computation can be a vehicle for imagining new ways of being in the world. Let’s first step back to look at material precedents of modern computation and computers."
taeyoonchoi  coding  processing  sfpc  poetry  books  toread  ebooks  schoolforpoeticcomputing 
september 2017 by robertogreco
k'eguro on Twitter: "Proposals for radical ideas in strict academic forms. Radical thinking requires radical forms. It's an elementary lesson."
"Proposals for radical ideas in strict academic forms.

Radical thinking requires radical forms.

It's an elementary lesson.

Perhaps more academically inclined people should co-edit with poets. Figure out *why* form matters.

I am most blocked when I resist the forms ideas need to emerge."

[three tweets:
https://twitter.com/Keguro_/status/905288159239573504
https://twitter.com/Keguro_/status/905288608256598016
https://twitter.com/Keguro_/status/905288885600743425 ]
keguromacharia  radicalism  form  format  academia  poetry  2017  containers  thinking  structure  alternative  cv 
september 2017 by robertogreco
Teju Cole (@_tejucole) • Fotos y vídeos de Instagram
"Is it he or is it I that experience this?
Is it I then that keep saying there is an hour
Filled with expressible bliss, in which I have
⠀⠀⠀⠀⠀⠀⠀⠀⠀
No need, am happy, forget need's golden hand,
Am satisfied without solacing majesty,
And if there is an hour there is a day,
⠀⠀⠀⠀⠀⠀⠀⠀⠀
There is a month, a year, there is a time
In which majesty is a mirror of the self:
I have not but I am and as I am, I am.
⠀⠀⠀⠀⠀⠀⠀⠀⠀
—Wallace Stevens
from "Notes Toward A Supreme Fiction""
wallacestevens  poetry  poems  fiction  tejucole  photography  experience  being  existence  self 
august 2017 by robertogreco
A Dream - The New Yorker
"In a deserted place in Iran there is a not very tall stone tower that has neither door nor window. In the only room (with a dirt floor and shaped like a circle) there is a wooden table and a bench. In that circular cell, a man who looks like me is writing in letters I cannot understand a long poem about a man who in another circular cell is writing a poem about a man who in another circular cell . . . The process never ends and no one will be able to read what the prisoners write."
borges  poetry 
july 2017 by robertogreco
On Sound and Rhythm by Jack Collom | Poetry Foundation
"A way to start teaching poetry to children and young adults."



"The speech of children is songs of innocence and experience. Seven- through eleven-year-old kids (apprentice writers) have already had thousands upon thousands of hours of practice talking (and listening) that would constitute—in terms of pole-vaulting or violin-playing—world-class experience. They are fluent within their own vocabularies. Already, the rhythms of their speech resemble those of rather interesting jazz.

Children’s language seems to have a built-in musicality: listen to their talk; it’s frequently like a mountain freshet bubbling along over rocks, full of silvery arcs. This is the raw material of poetry. By contrast, we adults, though much larger in our references and vocabulary, tend to fall into verbal ruts and toneless abstractions.

And children take a special delight in odd or pretty sounds. Given the chance to write, they are very playful with the sonic side of language. Experts say their learning of new words is a process of wonder, laughter, and punning. What children may lack is a developed sense of artistic judgment, so that their poems often include startling successes in sound right next to bland or awkward passages. They tend to accept whatever comes into their heads.

So they have the potential for art right on the tips of their tongues. It is important that we recognize this “little genius” for poetry that children have—and not try to “muscle” them into adult standards of poetic discourse. Yes, they should develop mature language skills—but gradually, organically, while as much as possible maintaining (and developing and transforming) their own fresh poetic talents."

[See also:
"Jack Collom, Boulder poet and educator, remembered for 'a great run of a life'"
http://www.dailycamera.com/top-stories/ci_31113500/jack-collom-boulder-poet-and-educator-remembered-great ]
poetry  classideas  teaching  jackcollom  via:austinkleon  sound  language  writing  teachingwriting  poems  tone  imitation 
july 2017 by robertogreco
Soulellis: Artistic Practice in 24-Hour Light Rhode Island...
"Artistic Practice in 24-Hour Light
Rhode Island School of Design
Reykjavík, Iceland
14 June – 4 July 2017

Artistic Practice in 24-Hour Light is a course for 13 students in Reykjavík, Iceland. The three-week program is modeled as an artists’ residency and collaborative creative practice, culminating in a public happening. Students will develop their own work, with guidance and support from the instructors and visiting artists. We begin with a series of open prompts, developed as a collaborative teaching tool with Sal Randolph, to bring city/landscape/place into the studio. The course encourages seeing, writing, thinking, and making, towards the development of a new work (or a small body of work).

Continuous solstice light and a vibrant artists’ community will be the context for on-site experimental making, engaging with public, and performing publishing. Our studio will be located at Iceland Academy of the Arts. This intensive course investigates new ways to make poetic work in response to place, using wild terrain, white nights, public space, the street, studio practice, the internet, and one of the world’s oldest continuously functioning democracies as our studio at large. 

With visits to Hveragerði, Snæfellsnes, Vatnasafn, and Hvalfjörður. 

The program concludes with a performative event, to be staged at Mengi on our final night.   

With guidance from Bryndís Ragnarsdóttir, DIspersed Holdings (Sal Randolph & David Richardson), guest artists, and writers. 

[via: "trying to run it like an artists' residency, with guidance but lots of freedom."
https://www.instagram.com/p/BVpR3HCnIbO/
2017  paulsoulellis  iceland  risf  reykjavík  art  design  residencies  openstudioproject  lcproject  classideas  salrandolph  happenings  creativity  writing  travel  collaboration  making  workinginpublic  thinking  poetry  artbooks  aritistsbooks 
june 2017 by robertogreco
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