This does not mean either that I equate the USA with God, or that I believe in their (or your) versions of g/God. It only means that I have been aware of the image and the metaphors and the powerful feelings they stir.
Together, they also reminded me of Bialik’s beautiful poem, Take me under your wing, which for me speaks directly to the fear and hope I see in the picture; see it below with a translation by my husband (mostly) and me (tweaking).
We had the first rehearsal yesterday for this performance to be held at the Saatchi Gallery 13-16 October.
The idea is to investigate how audience appreciation of The Shape of Things to Come exhibition at the Saatchi Gallery is affected when music and poetry are performed in response to sculpture.
Elinros Henriksdottir asked me to select and perform some poetry in response to certain works and invited A Band of Buriers to do the same in music.
Hello, hello, my long-languishing blog (and my very occasional readers)! I love you, I really do, and think of you constantly…. well, a bit inconstantly, it’s true, but I do hold you in my heart. It’s just been an incredibly busy year, with three main themes occupying my energies:
Writing content and building an exciting commercial website for RealCorp Luxembourg; as well as ongoing training, consultancy, blogging and other writing for them and for other clients.
Volunteering for Poet in the City as Social Media Manager: creating a WordPress blog and an internal Social Media Wiki on PBWorks, teaching social media workshops, encouraging a mixed bag of users to contribute on the blog, Facebook, Twitter and LinkedIn, assisting with a bid for Nesta’s Digital R&D Fund, and writing a spec to revamp the main Poet in the City website (project on hold for now). I also managed the Poetry and the State event at Amnesty International and assisted with several other events.
Buying a house in France…. more on that later, when I can get my head around the fact that it’s actually happening!
All this has meant that I haven’t had much time for personal creative projects, so I was surprised and thrilled to be approached by the sylph-like Elinros Henriksdotter, after my reading of Shakespeare at the Poet in the City “Dog Days” Drop-In, to participate in a wonderful four-day initiative (13-16 Oct) to use poetry and music to enhance the experience of sculpture: “Art Accelerating Art”.
(Update 05/10/11: I’ve moved the chunk on Art Accelerating Art to a separate post).
In a recent Poet in the City post, Lockie McKinnon muses on the assumption by some people (led in this instance by economist Dambisa Moyo) that society can get along fine without the arts as long as we focus on science. Lockie argues passionately that, despite the current regime of cuts, we must retain art as an equal partner with science.
Although science may offer us water and food, our motivation for life itself and our understanding of ourselves, comes from the arts (not his words, but I understand this from Lockie’s example of Alberto Manguel’s Colombian villagers in The Library at Night choosing the Iliad as the one book that they refused to return to the travelling library). He finishes with an appeal to join a local library to oppose cuts.
I’ve been thinking about this post and wondering why, when I wholeheartedly agree that we cannot contemplate life or society without art, I felt hesitant about committing to the libraries campaign.
When did you last visit a library?
Today in The Independent, Mary Dejevksy asserts that “our view of libraries is sepia-tinted” and I knew, considering my own behaviour, that this is true.
Despite being a keen reader, and definitely old enough to know how important libraries have been in encouraging reading, I never use them. The last time I went into my local library to find a book (which they didn’t have, but did order for me), was 2001, I think.
How we find what to read today
Since then, I’ve never encountered a “finding” challenge that I couldn’t solve using the Internet. The process is much quicker and entirely under my control. I can read reviews to help me determine whether search any further; I can find summaries, excerpts or entire texts that sometimes supply all I need, depending on the reason for my search.
Many great books are free, for example, via Project Gutenberg, and if I decide to buy a book, I can usually find it at a reasonable price. Definitions, interpretations, background and context are literally at my fingertips via links or online search, while I read, wherever I’m reading.
Travel-wise, the convenience of instant download and reading books on my Kindle or iPhone is unparalleled. The books cost less than they do in hard copy, I don’t have to carry the extra kilos, and I don’t have to return them to anyone.
Of course, I’m aware of the digital divide and I know that, right now, reading devices are still relatively expensive, but digital reading will inevitably become ubiquitous as prices go down and it fits better into our busy lives.
Beyond online books to digital literature
Digital reading also opens wonderful new possibilities for narrative, as witness these collections from the Electronic Literature Organisation: Volume 1 and the recently published Volume 2.
One of my favourite digital poets is Peter Howard, whose e-poems use digital facilities in a non-trivial way to support and/or convey the poems’ intent, and manage to be aesthetic at the same time (surprise, complexity, intelligibility and beauty are a rare combination in the still-nascent world of e-poetry). See, for example, A Poppy. He is also a master of pace and comic timing, which many digital poets are not (yet). See Xylo and Portrait of the Artist.
We still need literature curators and guides
As we navigate the explosion of data on the web, I believe that there will always be a role for reading guides or facilitators, people who inspire and encourage us to read, experts who not only curate directories of literature and suggest what to read, but also teach us how to engage with what we read, and to read critically, so that we grow through these encounters, but I doubt whether libraries as we currently know them are optimally suited to this task.
For anyone interested in pursuing this topic, The Institute for the Future of the Book is a great resource and their blog if:book addresses developments in reading. You can also find new thoughts on the evolution of the creation and consumption of communications across all media on Transliteracy.com.
New Year, new start… well, that’s what January’s for, no? Due to (lots of lovely) work (for which I am very grateful) and an extraordinary amount of travelling, family visiting and hosting in different countries, six months have whizzed by. Well, here I am again, full of fresh passion and resolve!
One of my new roles this year is Social Media Manager for Poet in the City (PinC). I have begun facilitating the organisation’s presence on various social media platforms, including the new Poet in the City Blog. The engagement with social media involves a learning curve for all Poet in the City volunteers, including myself, so I am looking forward to that, and also to introducing PinC’s very large audience to some of the best digital poetry.
Mindful of my own slow and sometimes reluctant journey from being entirely text-bound to enjoying the delights of digital literature, I would also love to see more transliterate discussion here on TiaTalk, so I’ll start by reposting a piece I wrote for www.transliteracy.com. This was published on 29 December 2010 — sandwiched between two humongously extended public holiday weekends in the midst of the festive season, this date was probably not the best time for anyone to read it, so I’m giving it another go here. Please let me know what you think!
Reblog: Story Gardens of Holon: 3-D, immersive, interactive, social and offline
During our MA studies, it was suggested that digital storytelling is non-linear whereas text-based storytelling is linear, and that engaging with online stories is immersive, active, interactive and social, as opposed to offline reading which is less immersive, relatively passive and often solitary.
Those of us who since childhood have known the pleasures of immersing ourselves in a bookinitially found it hard to accept these distinctions. We were adept at imagining our own versions of scenes described, placing ourselves in characters’ shoes, and engaging our friends in repeated acting out of the stories in our own gardens or living rooms (accepting with good or bad humour the inevitable story variations arising when actors, props and locations do not exquisitely reflect the text),
In one online discussion with classmates, I said,
I was quite startled to realise that … new media art might be defined by non-linear narratives. Is it always a requirement that the reader not be offered, or be able to choose not to follow, a linear storyline? … when I think about the interactive possibilities of the new media, I can see ways to engage the reader and enable them to contribute, but still have them follow a narrative chosen by the writer.
I went on to say,
I think of the non-linear approach as more ‘poetic’, in the sense of the genre of poetry. The best way to engage with this kind of work is in a meditative frame of mind, where one takes the time to dwell with sounds, images and associations and follow these imaginatively. A poem may, of course, have a strong narrative structure, but much of the pleasure it offers is found ‘along the way’, before one reaches the conclusion or the resolution of any ‘plot’. Even in a linear story, attempts to evoke the emotions and perceptions of characters or of the reader may create ‘poetic’ moments during the story. If one maximizes these moments and reduces the linking narrative, even to the point where it is implied rather than described, one may produce a relatively ‘non-linear’ story (although the idea of story inevitably contains linearity). I suppose that this is my perception of how Inanimate Alice works. There is a linear chronology, but this is suggested rather than detailed, and my experience as the reader is of poetic moments at intervals along that chronology.
This was my limited view of new media’s potential at the time and, of course, it turned out that there was some sense in what our teachers were saying and we learned to identify and value the different kind of immersion, as well as the relative autonomy, creative freedom and social discourse offered to the reader by many online stories.
However, I still felt that these comparisons, necessary though they might be, could devalue the power of text-based stories. I longed to hold on to them while still embracing video games, MMOGs, cross-media narratives and all the other online possibilities… I did not want the new literacies to supplant the old. Thus, I was delighted when a recent visit to a Story Garden (“Gan Sipur”) in Israel suggested a way of creating and maintaining a transliterate approach to the enjoyment of stories.
Holon, a large city south of and adjacent to Tel Aviv, has 31 of these Story Gardens. Along with the Children’s Museum, the Mediatheque Cultural Center and various other youth-friendly initiatives, they contribute to Holon’s growing reputation as a “children’s city”. Hana Herzman, managing director of Holon Municipality, and Moti Sasson, Mayor of Holon, are credited with originating and driving the development of the Story Gardens project. They explain the concept further in this video:
In other words, Story Gardens are landscaped sculpture installations where the sculptures are characters, objects or abstract representations of thoughts and emotions from well-loved children’s stories.
Each garden (there may be several within a park) is a visually identifiable, cohesive space for one particular story, but offering unlimited points of access and egress. A path suggests the author’s original linear progress through the story, but nothing prevents the experiencer from being attracted to or seeking out alternative routes through the story.
Thematic and aesthetic cohesion for a particular story is established by having one sculptor per story, so only one artist works with a particular writer or text to interpret that story, but these unique story gardens are then united by tasteful, spacious landscaping in and between each “storyverse”, as though an editor had placed them in an anthology. See some more examples in Yair Karelic’s photos here:
Besides the simple pleasures of experiencing the gardens themselves, from an analytical point of view, the collaborative creation and the confluence of literacies here is wonderful. In creating a story garden, an author’s text is interpreted by a selection committee, a sculptor, and architects, environmental planners and engineers (often in live discussion with the author), and then re-interpreted with great satisfaction by teachers, parents, grandparents and, most importantly, by the children at whom the entire exercise is aimed. And taking transliteracy a step further… some of the stories have even morphed their way into the world of philately through photos of the sculptures!
And the text is never far from the story experience, despite its outdoor, 3-D, immersive, flexible and very social nature: apparently the most popular books in Holon are those featured in the Story Gardens. They are borrowed from the Mediatheque library and are taken to the gardens to be read aloud or home to be enjoyed again, by parents, teachers and children.
In a recent wide-ranging post, Reading in the Digital Age or Reading How We’ve Always Read, Kassia Krozser of Booksquare muses most engagingly on the technological developments required to facilitate social reading in the online environment, but what struck me is her assertion that reading has been a social activity for much longer than it has been a solitary one. She reminds us that
Social reading is normal reading. … Even after the invention of the Gutenberg press, the possession of books was outside the reach of most people. …. The tradition of people reading to each other remains alive and well. … It wasn’t until mass market books became available that reading, as we know it, was identified as a (almost-solely) solitary activity (overall literacy rates had to catch up as well, but that’s another issue).
I sometimes think of reading as “story absorption” to remind myself that stories were not always bound in books, but I am also glad that, at this point in the evolution of storytelling, when “wreading” happens in a Story Garden (because analysis, comment, reinterpretation and embellishment are inevitable parts of creation and of play), texts may still be part of the discussion.
There’s something so poignant about the phrase, “alone together”. It stuck in my head after I saw this CNN video about Eric Whitacre’s Virtual Choir on YouTube. I presume that most readers of this blog have seen it too. I wonder whether the same phrase at the end of John Vennavally-Rao’s report has also intrigued, delighted and troubled you?
I’m putting down here some random thoughts that haven’t fully coalesced yet into a coherent philosophy, but I’m chasing something/ some things that are hard to see.
The haunting beauty of the choral sound and the inclusive arc of differently coloured faces and backgrounds on the red-curtained stage of cyberspace pleased me deeply. I smiled. I watched it again. I forwarded it to a few friends. I watched it again. I studied a few of the faces — each singing peacefully and unselfconsciously as one can only do in one’s own private space. I felt glad and privileged to have access to those private moments mixed together in an enormous public display that reached and continues to reach across continents and across time. It was/is something precious. I googled Eric Whitacre. I was pleased to read that he’s working on more pieces for the Virtual Choir, perhaps some original work…
And yet, why does it haunt me so? The sense of longing, of reaching out for connection that is communicated to me, the viewer-hearer, is largely a function of the strangeness of the presentation, not of each individual’s communication. Most of the singers look extraordinarily serene, like people absent from the world because they’re in “flow” (Csíkszentmihályi, 1990). People who are physically together when singing together, no matter with how much joy or harmony, don’t wear exactly the same expression as an individual in private rapture. Or didn’t, anyway. As we reach out for connection in this new way, are we inviting others to steal a part of our soul that previously only revealed itself to the walls or landscapes of our private spaces?
But isn’t this just a logical 21st century extension of the artistic process? Artists have always used materials and techniques to transform base material into something else. It’s what artists do. Why does this seem different to me?
Partly, it’s the ephemerality of it — the is-and-notness that flickers on and off at the whim of the switch. Also, it’s the way the human sources are both enhanced by and subsumed in the media. Their “togetherness” is something that the media help us (and them) to imagine. We imagine willingly, but the compulsive clarity of video entices us to go further — to believe, despite ourselves. This mixture of the not-real and the real is disturbing. The putative “togetherness” (not-real) painfully emphasizes the aloneness (real) of the participants. We see each person’s aloneness clearly, multiplied a hundred times in an instant. Usually, we would suspect it only by extension from our own aloneness, when we can risk being conscious of that, and only one-by-one, from the occasional glimpses provided by circumstance.
On the other hand, we also see some elements that inspire us to seek togetherness… that give us hope. Despite our different countries, languages, cultures, genders and body types, we can all sing; we all aspire to make beautiful sounds; we can participate and cooperate to harmonious effect (albeit with the help of a strong guiding and editing hand); we all seek out private time or space to connect with ourselves, we can all be receptive; we can all be gentle. We also all enjoy and depend on similar electronic equipment for our communication and pleasure, so we are patient with each other as we struggle with its vagaries.
As the days passed, my thoughts turned to the creator/conductor/guide/editor — the uber-artist who put it all together. The reach of the work in terms of participants and, even more, of audience, and the fact that the harmony is created in his own private space by one over/above/outside the private spaces of those making the sounds, made me think of him in godlike terms. He is a small god, but with incredibly long digital arms. And now we can all be like him. We “little kings” are no longer held in check by the limitations of our physical resources. We are let loose with the power to make our megalomaniac dreams come true — in a sense — but we pay with the constant awareness of our aloneness.
This aloneness has always been the human condition, but before these digital joinings in eternally-preserved and universally accessible public spaces, we only dipped in and out of this awareness occasionally. Well, there is no way back, unless we have a Butlerian Jihad in our future. Until then, humanity is working out the Zen of our growth into full and constant consciousness of how we really are — just google the phrase “alone together” to see how much this concept exercises us in the current age.
Well, theoretically, I should know the answer to this question as this is what I studied in my MA over the past year. I have now graduated (with distinction) with an MA in Creative Writing and New Media from De Montfort University… but I’m still asking!
The term was introduced to the UK by Professor Sue Thomas and she and some other new media gurus have worked long and hard to refine the following definition:
Transliteracy is the ability to read, write and interact across a range of platforms, tools and media from signing and orality through handwriting, print, TV, radio and film, to digital social networks.
Prof. Sue Thomas
It’s a good definition that covers a lot, but its implications and ramifications lead to further questions. See my post on Transliteracy.com for some of these.
I ended the post with a link to a video about a fascinating artwork that future generations may hold to be a significant transliterate artefact.
I’d love to discuss all this, so please feel free to comment either here on TiaTalk or on Transliteracy.com.
So… it took a while, but this poem is now more than text! To experience it you’ll need Adobe Flash Player, preferably v9 or v10, and to turn on your sound.
Click the image to view the poem full screen:
The [Respond] button at the end of the poem will bring you back here to comment or offer a poem of your own.
Alternatively, why not respond by creating your own version of Watercolour? Grab the word cloud below, go to http://www.wordle.net, paste it in and have a blast! If you like the result, supply a link to the Wordle version in your comment.
Notes:
Wordle gives greater weight to words that occur more often. If you want some words to appear bigger than others, copy and repeat those words a few times in the word cloud, e.g. repeating “jazz jazz jazz” and “pizzazz pizzazz pizzazz” and “imagine imagine imagine imagine imagine” could produce a Wordle like this: Watercolour imagine jazz pizzazz.
Wordle strips out common words like “of” and “the” unless you change settings via the Language menu.
Word cloud for Wordling:
Watercolour primaries pounce on the primitive page usurping space with bizarre pizzazz opposing waves squall and break brim-brilliant crests crash create a jazz of chaos interference drags a screaming thread of blue through careless orange splotches tia azulay raging red gobbles new green panicking through cooling pools of sulphur a purple pulse breathes whirls of fire willing them to swirl against caking air to savage expectations flay the fair and even strokes of intent with edges of the depths fan water into flame with split-atomic spatterings of aquamarine and shame shatterings of line design all reason Oh Image imagine Imagination’s breathing Ruwach
It’s amazing how a fresh project and the smallest amount of feedback can help one to see old work with new eyes. I’m working on my first e-poem – a conversion of an existing paper-based one. Discussion in the E-Poetry module of the MA made me realise that some of the poem’s “argument” had never made its way from my head to the page. In trying to describe my first experience with watercolour painting, which challenged all sorts of preconceptions I’d held about the medium, I was so focused on my emotional response that I hadn’t given a clear enough picture of the activity to justify my response.
I’ve brought back some structures (layout, punctuation) that I used in earlier versions, but also introduced a few new words, including a whole new line, and deleted some unnecessary ones. I’m pleased with the textual result now (the e- bit is still to come), although in two minds about the title – should I revert to the original title of “Watercolour”, or retain “Primeval Watercolour”?
You can see one of the many earlier versions here, if you’re interested, but here’s the latest version:
Watercolour
Primaries pounce
on the primitive page,
usurping space with bizarre pizzazz;
opposing waves squall and break,
brim-brilliant crests crash,
create a jazz of chaos:
interference drags a screaming thread of blue
across careless orange splotches;
raging red gobbles new green;
panicking through cooling pools of sulphur,
a purple pulse breathes whirls of fire,
willing them to swirl against caking air,
to savage expectations, flay the fair
and even strokes of intent
with edges of the depths,
fan water into flame
with split-atomic spatterings
of aquamarine and shame,
shatterings
of line, design, all reason—
Sue Thomas posted this question under Talking Points in our Creative Nonfiction module today: I came across this very interesting website http://dailyroutines.typepad.com/ which prompted me to ask – what is your daily routine? Do you have one? Do you wish you had? What works for you?
I found this website fascinating. One thing that struck me particularly was how few writers write for more than three or four hours a day. Another was how many of them write in the morning. I am also a morning person. Sometimes, I jump out of bed with a huge sense of urgency at 3, 4, 5 or 6 and head straight to my computer. If I do start writing then and if nothing else actively demands my attention (I am very good at procrastinating about things that should be done but aren’t actually shouting at me), then I can write or design projects easily until 11 or 12 am.
Usually, though, I have a much more disciplined routine which results in far less writing! This is because I’m married. Because I currently work and study from home and my husband has to travel to work, all the housework and catering falls to me. His necessary routine dictates mine. We rise at 7 (if I’m not already up) and I must have a cooked breakfast on the table by 8am at the latest so that he can be at work by 9. I usually fit in some housework and about 45 minutes of exercise between 7 and 9 as well. I am much more regular about exercise if I do it in the morning. If I miss, sometimes I can persuade myself to get on the stepper in front of the TV in the evening, but I have to talk to myself sternly to make myself do this!
From 9 I’m back at the computer and work through until 12 or 12.30, when I break for lunch for an hour (in which time I’ll do some laundry and possibly get onto the stepper in front of the TV if I missed it in the morning). Then at 13:00 or 13:30 back to the computer until 6.30 pm. I often have a concentration slump somewhere between 2 and 4pm, so I might read online news, answer emails, browse websites or even watch TV then. At 6.30 I start preparing dinner to serve at 7pm (I don’t do fancy cooking!). By 8pm I’ll finish clearing up, laying the breakfast table and preparing my husband’s work lunch for the following day. Then it’s time for any collaboration with him on online projects or domestic issues, or if we don’t have anything pressing, we’ll both return to our computers until 10pm (well, we always say 10pm, but inevitably end up only getting into bed by 11 or later because he’s a night owl).
I deal with household admin and finances – property, banking, insurance, investment issues, etc. for at least an hour a day. Most of this is online or call centre work which I dislike intensely, and some letter-writing, and it usually goes better if I do it in the morning, but I often leave it until late in the afternoon.
Unfortunately, I don’t function well on less than 8 hours’ sleep, or if I get to bed any later than 11pm. I would so love to be one who could manage on 6 hours!
Sometimes, when I’m deeply engaged in a project or piece of writing, none of the above applies. I’ve been known to spend 12 to 18 hours solid at my computer, only drinking or eating when my other half realizes that I’m shrivelling up and brings me something.
So, that’s my reality, which doesn’t really work for me. One possible improved schedule would be:
06:00 Yoga, self-care, planning
07:00 Light breakfast; read
07.30 Write, study
11:00 Online chores
12:00 Lunch (main meal); read or walk
13:00 Write, study, work
17:00 Housework, dinner prep with music
18:00 Walk or read
19:00 Light dinner and clearing up with music
20:00 Read, play games, collaborate, dance, singing, drawing or music practice
09:00 Prep for sleep
09:30 Read in bed
10:15 Sleep
Seems so simple…. why is it so hard to make this happen regularly?
One answer: Csikszentmihalyi talks of the “activation energy” needed to transition into activities that produce flow, and of the dangers of the lure of passive activities like TV that require very little activation energy. TV is a big problem for me because it’s easier than all the other things. If I could, I would throw it out, but hubby won’t hear of it. Although, recently, I’m glad to report, I’ve been so interested in what I’m learning and doing on the course that I’ve been watching a lot less.
I’d be happy to hear what routines others have or have tried in the past, and especially what motivates you to stick to them.
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