What insights (both practical and theoretical) have you gained into the poem/poems that you have studied? What have you learned (both practically and theoretically) about hypermedia?
Lets play with these both. As I find it so very hard to separate the two these days. The two being poetry and hypermedia, and days being time, or the artificial measurement of the earth spinning. They say the earth is slowing down, and days millions of years ago were half of what they are today. So perhaps early humans lived to be hundreds of years old, simply because everything was so much faster. But I digress. Yes, yes I do.
Back to the original point. When I think of poetry I think of interface and movement and sound. Words are always attached to navigation and color and image. So both questions (and in fact it appears all the questions posed here) are great friends, separated by long distances and speaking different languages. But again a digression.
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LadakDigital!payLoss
Route y If a review appears in Serbian
Makarasana of
terremotosLhasa : : Lakshmi
noqancheq
(Loss Pequeno Glazier, “Io Sono At Swoons”)
Interested in breaking down with traditional syntax and in abandoning punctuation and linear arrangement of words, in “A Throw of the Dice” Mallarme invites the reader to follow the poetic text in a nonconventional format, which, at first sight, reveals itself as being devised under the sign of chance or random because words are left free on the page, verbs and adverbs, nouns and articles are no longer bound to each other, capital letters follow no orthographic rules, punctuation marks are almost absent, and sentences can be barely read and identified. The feeling of incidental organization is caused by the very first visual impact of each page that Mallarme had skillfully manipulated in an attempt to escape “the four extremities of the page by jumping the boundary of the spine to tie two conventional pages into one,” as Dorothy M. Betz beautifully describes the poet’s intention and writing strategy. In Betz’s opinion, “the generally-falling movement of the text across each page depicts the fall of the dice; the ship on page three, the hat on page six, and the constellation on page eleven depict objects named at those points” whereas the arbitrary position of the words translates the poet’s playfulness and intent to mock the limits of the book and to express his frustration in writing.
]]>Reading Lori’s entry on Karpinski and Howe’s open.ended, which ties previous discussions about three-dimensionality to the current one about chance, I was reminded of a work which I had forgotten about, but which I want to share: Brooke M. Campbell’s Choose Your Own Sexuality from Rhizomes 8. Campbell’s piece combines poetry, biography, and history under the familiar form of the “Choose Your Own Adventure” novel to create a queer biography of Emily Dickinson. Campbell’s piece takes seriously the implications of queer scholarship, shedding light on the general import of such work: The author is often just as much what he or she is as what he or she isn’t and that creative works reflect this similar tension. Decision-making is not simply the rational evaluation of two choices, rather they are heavily laden with cultural expectations, social frameworks, habits, law, and deep desires. Though Campbell’s piece uses the familiar framework of binary choices, the fact that Campbell’s piece is based on actual historical events loads the choices up with the questions: “What happened?” and “What do we want to happen?” The effect is not to simply fork the work, but to play in the imaginative spaces between the choices, to speculate about possibility.
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My mom comes and brings a vhs recorded with Kelsey’s memorial service. Why do we call it hers? Ours, about Kels (’over my dead body’). None of us have ever watched it. I take it to school, turn off the monitor and dub it to DVD. Then watch it one night in my basement studio, lights off, lying on the futon, blanket on.
i didn’t know - and couldn’t be bothered to learn - how to rip right from the DVD. so i filmed it again on my (cracked) computer screen, mini dv camera balanced on a beer bottle and a stack of books - as am, often, i. an aesthetic was born: lo-fi, rascuache and hand-made-for-youtube style.
Editing. The more I clip and playback the further the distance between the white-faced 23 year old with the hollow eyes and skeletal shadows and the me that’s like, ‘hey Chris can you do me a favor? Film me dancing around and singing to billy idol? It’s kinda weird but it’s to edit over the film from the funeral… you know, ‘hey little sister, what have you done?’
i’m into all the the youtube tropes - the music videos, the narcissistic (self-conscious) metubes, the i.movie edits, the bedroom girls - and i can claim my interest’s academic (it is - somewhat - so i do) but the youtube context (which is a separate theatre from the one i set to screen these works in) also works to disable any academic reading (comments & responses).
]]>You can, with your little hands, drag me into your grave -you have the right — I myself who am joined with you, I let myself go — but if you wish, the two of us, let us make… an alliance -a hymen, magnifcent - and the life left in me I will use to…- so not mother then?ceremony - coffin - etc.there we saw (the father) the whole material side - which lets us tell ourselves at need - ah! well yes! it is all there - no fear for me thinking of something else (the reformation of his spirit, which is eternal - can wait (granted but eternity through my life)_____father -shape his spirit (he absent, alas! as we would have shaped him better present but sometimes when it all seems to be going too well - as an ideal - cry out - in the mother’s tone, she who has become attentive - This is not enoughI want him, him - and not me -
my dad first introduced me to eric whitacre on the westernmost tip of portugal, in april of 2004, more or less 5 weeks before the cabrillo college chorus sang ‘i thank you god for most this amazing day’ at my sister’s funeral.
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