In response to this craft/vision discussion, I would like to inject
a transverse issue
Last weekend I went to the Universals in Music conference here
in Aix en Provence
There was much interesting discussion connecting musicology,
sociology, neurobiology and cognitive science= and the ideological
linking of 'universals' to western colonialism seemed to dissipate with
the new emerging discussions in the cognitive sciences, computational
linguistics, and new anthropology
One if the ideas that came up is that the brain probably functions
with a continuum of systems that go from oral and written language
to poetry to music rather than discrete functions the way we label them -
and that all of these are embodied- there was some discussion of
pre-natal cognition and the way babies construct all these various
communication strategies that range over the various kinds of
literary, musical, dance and performance- through interaction
with their mother before the age of three
Perhaps one of the interesting things with 'new media poetry' is that
it provides new way of integrating diverse communicational modes-
that cross the boxes that we have put various kinds of artistic expression
in- opera and other multi media forms of course do this
This gets me back to mcluhan and the medium is the message issue=
that oral poetry, written poetry and new media poetry in their
very structure carry with them certain 'visions' that are privileged over
others- which drives differing aesthetic agendas
The scientific poetry of the nineteenth century that Lambert brought
up is maybe inconceivable in new media poetry because its tied
to the written literature that created both science and poetry at the time ?
21st century Science is becoming new media, so is poetry
On Tue, Dec 7, 2010 at 5:42 AM, Jared Smith <firstname.lastname@example.org> wrote:
> After visiting your site and thinking about it for a bit, I feel my earlier
> response was well-intentioned but inadequate. I think now that you were
> asking why there is tension between traditional poets and poets who work
> with digital methodologies, particularly with regard to the digital
> structural work you have designed.
> It's a novel and intricately structured concept as you lay it out on your
> website and on your YouTube video. There are in traditional poetry almost
> two basic schools of thought: those that think the craft (structuring) of
> the poem is most important; and those who conversely feel that the vision
> carried within that craft is what is most important. For those who see
> craft as most important in traditional poetry (sonnets, sestinas, etc.,)
> your form should be exciting and welcome as a new way to contain vision. I
> expect that many will be interested. For those who are more concerned with
> the Vision communication aspect, it will come slower because a number of
> them may feel that you are not really doing away with linearity with the
> structure, but are supplying data sets than can be interchanged just as
> sensory stimulus interchanges in the world we experience: these Vision type
> poets are likely to feel that what is most important in poetry is for the
> poet to know from his/her own vision which set of images/responses to offer
> rather than offer a menu for the reader to manipulate.
> Ultimately, of course, what matters is finding the best vehicle for what you
> (the poet) wishes to convey, or for what you wish to use words for. I
> would like to experience how you have delivered some of your finished poems
> using the technique you talk about. you give me much to think about, and I
> have shared your thoughts with others, who may contact you as well.
> On 12/5/2010 11:27 PM, Jason Nelson wrote:
>> I'm really curious as to the list's impressions of digital poetry.
>> Inherently digital poetry lives within the intersection of science and
>> poetry. Indeed it is an evolution of poetic ideas and expressions,
>> poetry unleashed from the artificial contraints of linearity and
>> -mono-dimensionality. So for example most of my works at
>> http://www.heliozoa.com explore how to recreate poetry within a
>> variety of complex interactions and orgranizations. And yet there is
>> certainly a conflict between the print/spoken word poet and the
>> digital creator.
>> Why is this? Or not? Any thoughts?
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I am in Marseille, France
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Roger Malina is Director of the Observatoire Astronomique de Marseille Provence
and Executive Editor of the Leonardo Publications at MIT Press
and member of the steering committee of IMERA the Mediterranean
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HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.