http://www.youtube.com/watch?v=GeGo1d-H3co
http://sicilianicecream.com/
http://www.ferrignosa.com/historique.asp
Cioa,
Andrew
--
On Mon, 13 Dec 2010, Simon Biggs wrote:
> A poem that starts a war can be called an info-bomb. I like to employ a
> broad definition of poetry and poetics. Main Kampf has its poetic elements.
> So does the rhetoric of Jihad. Perhaps even more so. Arabic is an
> intrinsically evocative language. These are poems that start wars.
>
> Anything can be a weapon and what was intended as a weapon can be anything.
> I thought that was the point of a flower in the barrel of a gun, or the
> famous lyric of the Beatles:
>
> Happiness (is a warm gun)
> Bang Bang Shoot Shoot
> Happiness (is a warm gun, momma)
> Bang Bang Shoot Shoot
>
> Best
>
> Simon
>
>
>
> On 13/12/2010 07:25, "Paul Hertz" <ignotus@gmail.com> wrote:
>
>> Jared,
>>
>> Let me see if I understand. Psalm 137 ("By the waters of Babylon we sat down
>> and wept"), a beautiful poem of longing and exile, which ends:
>>
>> "Oh daughter of Babylon, you devastator!
>> Happy shall he be who requites you
>> with what you have done to us!
>> Happy shall he be who takes your little ones
>> and dashes them against the rock!"
>>
>> would evidently be a "lower" form of art, since it clearly seeks to draw on
>> the passions of the people to whom it is addressed and ends with what looks
>> pretty unequivocally like a call to infanticide.
>>
>> You say that a poem has never started a war. If starting a war is matter of
>> pulling triggers (or notching arrows, or dropping bombs) I suppose a poem
>> never did this. A poem also never made lunch. But poetry and all other art
>> is formed by the society in which it arises. Poems and language propagate
>> the values of the cultures that produce them.
>>
>> If the Iliad glories in war, does it not then also have a responsibility in
>> continuing wars? It may not immediately incite its listeners to take up
>> arms, but it certainly propagates in them the core beliefs of a society,
>> including the notion that war is heroic. We could well hold it guilty of
>> starting many wars, just through propagating that one great lie "war is
>> heroic."
>>
>> It is only our distance from the culture from which the Iliad sprang that
>> allows us to consider it dispassionately, as what I suppose you may mean by
>> "higher" art. Otherwise, we'd hear it as part of our own education as
>> warriors or as mothers and wives of warriors. It is a great poem not because
>> it is not calculated to incite the passions and lead people in a particular
>> direction, but for the grandeur and scope of the language through which it
>> does that very thing.
>>
>> Perhaps you conceive of "lower" poetry as that which is specifically
>> intended as an instrument to incite, rather like a military march or a
>> patriotic painting. Well, certainly there is a lot of "official" art that is
>> truly bad, but I contend that that there is also plenty of great art that
>> does incite, and quite consciously. So yes, perhaps a poem never started a
>> war, but some poems keep war going. And occasionally a poem pays for lunch,
>> in the style of Cyrano de Bergerac.
>>
>> The notion that it is desirable that a poem might "lie beyond such concerns"
>> as inciting passion or action is itself a cultural attitude, and not
>> something inherent in poetry as practiced through the ages. You may prefer
>> poems that reflect that attitude or allow you to practice it, but that does
>> not mean there is one cultural stream of "true" or "high" art producing
>> dispassionate poetry and another of "low" or "false" art ruled by passion.
>>
>> Perhaps I misconstrue what you mean by these dichotomies of true/false or
>> high/low, but in any case they strike me as implying a value judgment that I
>> don't believe I share. I rather think I prefer poems that attempt to sway
>> me. I enjoy being swayed, all the more if the workings of poetic language do
>> so with a subtlety I can only decipher after the swaying.
>>
>> There are only choices about how to use language, not choices about its
>> outcomes. By its very refusal to take sides, a dispassionate poem may be
>> complicit in social evils--or it may open the way to settle a dispute. We
>> may choose to use language passionately or dispassionately, to express our
>> desire for peace, for war, for quietude or for lunch. We have done so for
>> ages. There are no guarantees that language will have the effect we desire.
>> It's that malleable. For better or worse, we ourselves are that malleable.
>> We make our choices and hope for the best.
>>
>> best regards,
>>
>> -- Paul
>>
>>
>>
>>
>> On Wed, Dec 8, 2010 at 10:40 AM, Jared Smith <smithjrw@comcast.net> wrote:
>>
>>> Paul,
>>>
>>> I would agree with most of what you say, and hope that you have not labeled
>>> me as one who would claim that poetry and art are "Innocent." Indeed, they
>>> are not. In speaking of true of false art, I meant to speak of false art as
>>> that which is consciously inspired or calculated to incite a particular
>>> reaction by drawing upon the passions of a people and leading them in a
>>> chosen direction--to war or to peace or wherever. Perhaps rather than
>>> calling that a false art, I would have been clearer if I had called it a
>>> "lower" art or poetry. A "higher" art of poetry, or as I unfortunately
>>> termed it, a "true" poetry would be that which is as you say "not innocent"
>>> and not guilty, but partakes from all that is about us and brings all that
>>> it can perceive to bear on its experience. It is not innocent nor guilty,
>>> but lies outside and beyond such concerns.
>>>
>>> I think that we are in agreement on that, and that it is only the short
>>> responses one is generally allowed in email discussions that may have
>>> confused that issue--at least that my short response may have confused it.
>>>
>>> What I was trying to address in Ramon's email, however, was that neither
>>> art nor poetry start wars--and in fact, I believe they guard against wars
>>> because of their inclusion and giving voice to the feelings and passions of
>>> the people who create them within the society. I might simply have said in
>>> response to Ramon that Poetry is very powerful. But if one thinks it causes
>>> wars, one is greatly overestimating of misunderstanding that power. I
>>> challenge anyone to name a war that was started by a poem.
>>>
>>> Jared
>>>
>>>
>>>
>>>
>>> On 12/7/2010 3:39 PM, Paul Hertz wrote:
>>>
>>>> Sorry for the late entry, but I can't let this go unchallenged.
>>>>
>>>> Ramon Guardans said: "science and poetry are also indispensable components
>>>> of all massacres, wars and monstrosities that the human group is putting
>>>> together today and has in the course of history."
>>>>
>>>> I think this is only to say that culture is not innocent. If it pretends
>>>> to
>>>>
>>>> *represent* all of human experience--and it does--then it seems to me that
>>>> it must *partake* of all human experience, too.
>>>>
>>>> And how can we ascribe innocence to poetry, art, science or any other
>>>> cultural manifestation we create if we cannot ascribe it to ourselves? I
>>>> put
>>>> it to you that no person is innocent: however much we attach the symbology
>>>> of innocence to babies, women, clouds, souls, poetry or painting, each
>>>> symbol and each reality remains stubbornly a part of society as a whole.
>>>> There is no innocence apart. There are choices that lead to peace and
>>>> dialog
>>>> and there are choices that lead to lies and degradation, but once we claim
>>>> our place in human society there are no choices that lead to innocence,
>>>> any
>>>>
>>>> more than there are social movements that will take us home to utopia.
>>>> There
>>>> are only choices that will improve our collective lives or make them
>>>> worse,
>>>>
>>>> and art may lie in helping us to distinguish them.
>>>>
>>>> Art is stained with living--or it isn't very good art.
>>>>
>>>> I imagine that Ernesto Cardenal spoke in this spirit when he declared that
>>>> the poet "defends the people through language." Not because he offered
>>>> innocence in his poems, but because he was ready to commit to living his
>>>> choices through his words.
>>>>
>>>> And this undoubtedly means that art sometimes offers bad choices,
>>>> aesthetics
>>>> of death, celebrations of infamy. I have only to contemplate the several
>>>> poetic traditions Ramon Menendez-Pidal gathered in his *Flor Nueva de
>>>> Romances Viejas*, a wonderful anthology of medieval romances from Spain,
>>>> to
>>>>
>>>> realize that there is great art coming out of bitter conflict, and taking
>>>> sides in such a way that the hero among the Mozarabes may be the villain
>>>> among the Christians, and vice-versa. You may say these poems are only
>>>> innocent tales--as though history in any form could be innocent--but may I
>>>> suggest that they are both high art and poisoned by murderous, fratricidal
>>>> war? They may not stir blood to anger now, but I'd wager once they did.
>>>>
>>>> No, you won't get away with claiming some special innocence for art,
>>>> especially if it requires you make distinctions between false and true
>>>> art.
>>>>
>>>> There is art that reaches out to us, as you say, but there is also art
>>>> that
>>>>
>>>> intends to stir our rage. Trying to cage it in a "true/false" dichotomy
>>>> will
>>>> not suffice. It is language itself, the very material of which both your
>>>> true and false poetry are made, that bears the stain. This holds, too, of
>>>> other arts, though they do no operate with words. The compromise with
>>>> communication is the compromise to be misunderstood, to be wrong, and to
>>>> even to commit criminal acts. Art is many things, but it is not innocent.
>>>> I
>>>>
>>>> dare say the same of science.
>>>>
>>>> Now, if you ask me whether I believe that artists and musicians and poets
>>>> are generally striving for peace and understanding--if you ask me whether
>>>> I
>>>>
>>>> believe that culture offers a pathway for human beings to learn to live
>>>> together--well, I will answer with a resounding YES. But is not at all the
>>>> same as ascribing innocence to art.
>>>>
>>>> I think Ramon is spot on when he says that science and poetry are
>>>> compromised not only with those aspects of culture that we hold to be
>>>> positive, but with the negative as well. That is certainly how I read what
>>>> he wrote. I really don't think we can study or perform art or science in
>>>> all
>>>> their depth and breadth without that realization. Without that
>>>> realization,
>>>>
>>>> our choices of what we believe science and art should do into the future
>>>> cannot be made as they must be made--with eyes open.
>>>>
>>>> My apologies to the apologists of innocence if I give offense, but, worthy
>>>> people, you are mistaken if you think art or science are innocent.
>>>>
>>>> best regards,
>>>>
>>>> -- Paul
>>>>
>>>>
>>>>
>>>> On Fri, Dec 3, 2010 at 11:07 AM, Jared Smith<smithjrw@comcast.net>
>>>> wrote:
>>>>
>>>> Ramon,
>>>>>
>>>>> Science may take part in the formation of warfare, as for example in the
>>>>> creation of some of Leonardo's machines of war. But the scientific
>>>>> process
>>>>> itself has never driven war. And certainly poetry in its true
>>>>> definition,
>>>>> which includes communication of full thought and not just passionate
>>>>> egotism, has NEVER driven war. U.S. Poet Laureate Ted Kooser has said
>>>>> that
>>>>> the foremost purpose of poetry is to communicate with people--and I would
>>>>> add that it is to communicate in ways that are outside our limited
>>>>> commercial language. Probably 98% of the words we say each day equate to
>>>>> "what can I buy from you?" or "What will you trade me for...?" Poetry
>>>>> takes
>>>>> the vastness beyond those words, yet still contained within our language,
>>>>> and uses them to explore other issues that we perhaps feel more deeply
>>>>> though we don't discuss them.
>>>>>
>>>>> False poetry--rhetoric/oratory--may be used to drive armies and false
>>>>> ideas. We must as a culture understand, however, that there is a
>>>>> difference
>>>>> between false poetry --often passion or hate-driven egotism--and real
>>>>> poetry
>>>>> that reaches out to that which is larger. We make that distinction in
>>>>> philosophy and have since Plato discussed rhetoricians and philosophers
>>>>> as
>>>>> being two different types of people with different goals.
>>>>>
>>>>> Art--certainly poetic art--is a transcendent and inclusive process
>>>>> conducted within oneself and perhaps later shared with others. It does
>>>>> not
>>>>> lead to war.
>>>>>
>>>>> Jared
>>>>>
>>>>>
>>>>>
>>>>>
>>>>> On 12/2/2010 12:52 AM, ramon guardans wrote:
>>>>>
>>>>> One point that sould be noted is that as much as science and poetry
>>>>>> interact and overlap in the production of beauty and positive social
>>>>>> constructions
>>>>>>
>>>>>> science and poetry are also indispensable components of all massacres,
>>>>>> wars and monstrosities that the human group is putting together today
>>>>>> and
>>>>>> has in the course of history
>>>>>>
>>>>>> the construction of spurious certitudes, nationalism and fanaticism rely
>>>>>> on wine and poetry, but you can substitute the wine by other substances,
>>>>>> the need-use of science and technology to amplify killing power does not
>>>>>> need to be ellaborated
>>>>>>
>>>>>> Is there anything practical that can be said or done about this
>>>>>> relation?,
>>>>>> One thing i would say is that in the future it might be wise to pay more
>>>>>> attention to the unpoetic and very effective stategies of ignorance
>>>>>> technology, te deliberate and industrial production of unknowledge,
>>>>>> confusion and fear
>>>>>>
>>>>>> Currently and in history much work, poetic and scientific has been
>>>>>> devoted to produce and difuse ignorance, prejudice and confusion, this
>>>>>> could
>>>>>> be adressed and one way to proceed is by including forms of quality
>>>>>> control
>>>>>> , sort of cheks on the validity and logic of statements and
>>>>>> propositions,
>>>>>> science and poetry have proven to be able to do that
>>>>>>
>>>>>> cordially
>>>>>> r
>>>>>>
>>>>>> --- On Wed, 12/1/10, Jared Smith<smithjrw@comcast.net> wrote:
>>>>>>
>>>>>> From: Jared Smith<smithjrw@comcast.net>
>>>>>>
>>>>>>> Subject: Re: [Yasmin_discussions] Science, Technology, Art, POETRY
>>>>>>> To: yasmin_discussions@estia.media.uoa.gr
>>>>>>> Date: Wednesday, December 1, 2010, 4:32 PM
>>>>>>> Hi, Vitor and other Yasminers,
>>>>>>>
>>>>>>> What a fascinating conversation this is developing
>>>>>>> into! Your contribution here, Vitor, opens up the
>>>>>>> whole question of thought processes in poetry and the
>>>>>>> languages that represent those processes. Of course,
>>>>>>> on the most basic surface level, some of us may be most
>>>>>>> comfortable conversing in Italian or French or English or
>>>>>>> any other language native to a particular country or
>>>>>>> region. At a somewhat deeper level, we may be more
>>>>>>> comfortable conversing in light beams or music or
>>>>>>> mathematical symbols All of these symbols are, of
>>>>>>> course, just that: symbols that stand for the concrete
>>>>>>> statements we make or the meditations we set out upon. And David
>>>>>>> Morley's
>>>>>>> "Mathematics of Light" is a wonderful
>>>>>>> example of how one set of symbols may be merged within
>>>>>>> another. In our time, especially, one can do this with
>>>>>>> images that are complete pictures, as with digital poems and
>>>>>>> their interfaces, as Jason Nelson has just discussed in his
>>>>>>> post. The shadows of Plato's cave wall take on depth
>>>>>>> and become more interactive. And perhaps Knowledge
>>>>>>> (science) is allowed the chance to become closer to Art than
>>>>>>> to Craft--fact and not pretense?
>>>>>>>
>>>>>>> But the empty page, in any case, is what all these
>>>>>>> languages line their symbols down on. I wonder if
>>>>>>> there is value to thinking of the empty page as a
>>>>>>> scaffolding which symbols of whatever sort that compose a
>>>>>>> unity may be laid down. The symbols are
>>>>>>> statements. The scaffolding is the blank space across
>>>>>>> which those symbols play out--giving them nonlinear depth
>>>>>>> and meaning because we don't know how deep that space is or
>>>>>>> what its shape is. Nor does the mind try to measure
>>>>>>> the size of the paper or its infinitude. The mind does
>>>>>>> something else: it experiences the unknown space and makes
>>>>>>> of it what it will. It turns the finite into one or
>>>>>>> more possible definitions or discoveries of the
>>>>>>> infinite. And the poet, then, whether in light rays or
>>>>>>> mathematics or the contemplation of immigrants learns to
>>>>>>> convey that new possibility and discovery to others in
>>>>>>> a valid form. The poem happens, whatever language,
>>>>>>> within the mind, drawing from the structure on the page or
>>>>>>> visible through other symbols. It provides a setting
>>>>>>> for the symbols/data, and a tool for using them to create.
>>>>>>>
>>>>>>> My Best,
>>>>>>> Jared Smith
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> On 11/30/2010 1:41 AM, Vítor Reia-Baptista wrote:
>>>>>>>
>>>>>>> Hi Everybody.
>>>>>>>>
>>>>>>>> My name is Vítor Reia-Baptista and I work at the
>>>>>>>>
>>>>>>>> University of Algarve, in South Portugal, where we have a
>>>>>>> research centre on Arts and Communication - CIAC (Centro de
>>>>>>> Investigação em Artes e Comunicação)
>>>>>>>
>>>>>>> http://www.ciac.pt/en/index.php
>>>>>>>>
>>>>>>>> I do not have anu direct answer to Roger questions and
>>>>>>>>
>>>>>>>> I don't know if they exist in general, but I'm certain that
>>>>>>> they apply to many of our human kind situations: we do need
>>>>>>> poetry, in different shapes and different states of mind and
>>>>>>> materia.
>>>>>>>
>>>>>>> So, here are some starting contributes for a
>>>>>>>>
>>>>>>>> discussion maybe also around the way Teknè makes Poietike
>>>>>>> possible, through knowledge (Science) made visible by Art
>>>>>>> crafts?
>>>>>>>
>>>>>>> Dave Morley, author of the poem «Mathematics of
>>>>>>>>
>>>>>>>> Light»
>>>>>>>
>>>>>>> <http://www.liv.ac.uk/poetryandscience/poems/mathematics-of-light.htm
>>>>>>>>> ;
>>>>>>>> wrote:
>>>>>>>> «Think of an empty page as open space. It possesses
>>>>>>>>
>>>>>>>> no dimension. Human time
>>>>>>>
>>>>>>> makes no claim. Everything is possible, at this point
>>>>>>>>
>>>>>>>> endlessly possible.
>>>>>>>
>>>>>>> Anything can grow in it. Anybody, real or imaginary,
>>>>>>>>
>>>>>>>> can travel there, stay
>>>>>>>
>>>>>>> put, or move on. There is no constraint, except the
>>>>>>>>
>>>>>>>> honesty of the writer
>>>>>>>
>>>>>>> and the scope of imagination-qualities with which we
>>>>>>>>
>>>>>>>> are born and
>>>>>>>
>>>>>>> characteristics that we can develop. Writers are born
>>>>>>>>
>>>>>>>> and made.»
>>>>>>>
>>>>>>> This contribute may be found in the site of the Centre
>>>>>>>>
>>>>>>>> for Poetry and
>>>>>>>
>>>>>>> Science at the University of Liverpool:
>>>>>>>> <http://www.liv.ac.uk/poetryandscience/poems/index.htm>;
>>>>>>>>
>>>>>>>> From another perspective the Poetry Foudation claims
>>>>>>>>
>>>>>>>> that there are (at
>>>>>>>
>>>>>>> least) 1875 Poems about Arts& Sciences, such as
>>>>>>>>
>>>>>>>> the «Equation for my
>>>>>>>
>>>>>>> Children» by Wilmer Mills:
>>>>>>>> http://atirateaomar.blogspot.com/
>>>>>>>>
>>>>>>>> Best wishes.
>>>>>>>> Vítor Reia
>>>>>>>>
>>>>>>>> Citando roger malina<rmalina@alum.mit.edu>:
>>>>>>>>
>>>>>>>> Science, Technology, Art, POETRY
>>>>>>>>
>>>>>>>>> Opening Statement by YASMIN co moderator Roger
>>>>>>>>>
>>>>>>>>> Malina
>>>>>>>> Poetry in the Asylum:
>>>>>>>>
>>>>>>>>> There have been times in
>>>>>>>>>
>>>>>>>>> my life when I have been a voracious reader,
>>>>>>>> and sometime writer, of poetry. Sometimes this
>>>>>>>> state is triggered by
>>>>>>>> jet lag. At those times I consume and generate
>>>>>>>> poetry as if my very
>>>>>>>> survival depended on it. At other times I am cold
>>>>>>>> to poetry.
>>>>>>>> My Czech grandparents were both musicians and
>>>>>>>> music teachers and they
>>>>>>>> raised my father in a home where music was almost
>>>>>>>> a basic food. He
>>>>>>>> used to listen to music as he carried out his
>>>>>>>> scientific research in
>>>>>>>> the 30s, and later as he created his kinetic art
>>>>>>>> works in the 1950s;
>>>>>>>> his seminal work ³Jazz²:
>>>>>>>>
>>>>>>>>> (http://www.olats.org/pionniers/malina/bdd/oeuvre.php?oi=1201)
>>>>>>>>> is a visual poem linking sound and image. It was
>>>>>>>>>
>>>>>>>>> during this time that
>>>>>>>> he was at personal risk, pursued by the US
>>>>>>>> McCarthy staffers and the
>>>>>>>> US FBI. Then suddenly in his 50s, after his
>>>>>>>> political problems were
>>>>>>>> over, he became oblivious to music and painted in
>>>>>>>> silence for the rest
>>>>>>>> of his life. Is this a coincidence or a
>>>>>>>> connection? What is it that
>>>>>>>> makes poetry vital for survival? We live in a
>>>>>>>> dangerous age, do we
>>>>>>>> need a new poetics?
>>>>>>>>
>>>>>>>>> In recent decades, much of
>>>>>>>>>
>>>>>>>>> the art connected to science and new
>>>>>>>> technologies has been non contemplative, often
>>>>>>>> loud and insistent,
>>>>>>>> un-poetical. But other artists, and poets, as they
>>>>>>>> have explored these
>>>>>>>> new terrains have developed new poetic impulses
>>>>>>>> that have created new
>>>>>>>> senses of the special and even the sacred.
>>>>>>>> Examples come to mind that
>>>>>>>> I would put in the category of poetic arts would
>>>>>>>> include:
>>>>>>>> Jeffrey Shaw¹s ³Legible City :
>>>>>>>>
>>>>>>>>> http://www.youtube.com/watch?v=61l7Y4MS4aU
>>>>>>>>> Char Davies ³Ephemere²: http://www.youtube.com/watch?v=Oa_aiw7yhpI
>>>>>>>>> David Rokeby¹s ³Very Nervous System² :
>>>>>>>>> http://www.youtube.com/watch?v=SrawKucSSRw
>>>>>>>>> Mark Hansen and Ben Rubin¹s Listening post:
>>>>>>>>> http://www.youtube.com/watch?v=dD36IajCz6A
>>>>>>>>>
>>>>>>>>> The invited respondents in this discussion have a
>>>>>>>>>
>>>>>>>>> variety of
>>>>>>>> approaches to poetry that connects to the sciences
>>>>>>>> and technology of
>>>>>>>> our age.
>>>>>>>>
>>>>>>>>> When historian Robert
>>>>>>>>>
>>>>>>>>> Ilbert asked Samuel Bordreuil and I to set up
>>>>>>>> the Art-Science wing of IMERA:
>>>>>>>>
>>>>>>>>> http://www.imera.fr/index.php/en/organisation/101.html
>>>>>>>>> he named it : ASIL, or the French word for Asylum,
>>>>>>>>>
>>>>>>>>> with the acronym
>>>>>>>> Arts-Sciences-Instrumentations-Language . Indeed
>>>>>>>> the connections
>>>>>>>> between the arts, sciences and technology must
>>>>>>>> also be mediated by
>>>>>>>> languages both image and word, and in particular
>>>>>>>> by art forms that use
>>>>>>>> language as their raw material. We have recently
>>>>>>>> issued a new call for
>>>>>>>> residency proposals :
>>>>>>>>
>>>>>>>>> http://www.imera.fr/index.php/en/becoming-a-fellow/applications.html
>>>>>>>>> and we welcome proposals from poets that need to
>>>>>>>>>
>>>>>>>>> collaborate with
>>>>>>>> scientists or research engineers to achieve their
>>>>>>>> artistic vision. We
>>>>>>>> need poetry in the Asylum.
>>>>>>>>
>>>>>>>>> Ten years ago poet Tim
>>>>>>>>>
>>>>>>>>> Peterson, a participant in this discussion,
>>>>>>>> led a Leonardo Electronic Almanac project around
>>>>>>>> the new poetics :
>>>>>>>> New Media Poetry and Poetics
>>>>>>>>
>>>>>>>>> From Concrete to Codework: Praxis in Networked
>>>>>>>>>>
>>>>>>>>>> and Programmable Media
>>>>>>>>>
>>>>>>>> http://www.leoalmanac.org/journal/vol_14/lea_v14_n05-06/tpeterson.html
>>>>>>>>
>>>>>>>>> and more recently in the Leonardo Book Series at
>>>>>>>>>
>>>>>>>>> MIT Press we published
>>>>>>>> New Media Poetics: edited by Adalaide Morris and
>>>>>>>> Thomas Swiss
>>>>>>>> http://leonardo.info/isast/leobooks/books/swissmorris.html
>>>>>>>>
>>>>>>>>> which documents some of the current work in new
>>>>>>>>>
>>>>>>>>> media poetics.
>>>>>>>> In this YASMIN discussion we seek to discuss all
>>>>>>>> the many ways that
>>>>>>>> poetry connects to the new sciences and the new
>>>>>>>> technologies that
>>>>>>>> underpin so many of the new ways that we are
>>>>>>>> becoming human.
>>>>>>>> _______________________________________________
>>>>>>>>
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>>>>>> No virus found in this message.
>>>>>> Checked by AVG - www.avg.com
>>>>>> Version: 10.0.1170 / Virus Database: 426/3291 - Release Date: 12/01/10
>>>>>>
>>>>>> _______________________________________________
>>>>> Yasmin_discussions mailing list
>>>>> Yasmin_discussions@estia.media.uoa.gr
>>>>> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>>>>>
>>>>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>>>>
>>>>> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to.
>>>>> In the page that will appear ("info page"), enter e-mail address, name,
>>>>> and
>>>>> password in the fields found further down the page.
>>>>>
>>>>> 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.
>>>>>
>>>>>
>>>>
>>>>
>>> _______________________________________________
>>> Yasmin_discussions mailing list
>>> Yasmin_discussions@estia.media.uoa.gr
>>> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>>>
>>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>>
>>> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to.
>>> In the page that will appear ("info page"), enter e-mail address, name, and
>>> password in the fields found further down the page.
>>>
>>> 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.
>>>
>>
>>
>
>
> Best
>
> Simon
>
> simon@littlepig.org.uk
> http://www.littlepig.org.uk/
>
> s.biggs@eca.ac.uk
> http://www.elmcip.net/
> http://www.eca.ac.uk/circle/
>
>
>
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
>
> 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.
>
>
