While in class searching for my idea, I decided to get on the web and look at my high school Wiki page. I chose to do this because for a while now I have been trying to get my friends and other alumni to use this Wiki page as a source for updates in job information, re-location information, or just an FYI on what is going on in their lives. My rationale for doing so was to stay in contact with one other, and being able to use this new technology seemed like a pretty good idea to accomplish this. Since everyone knew about Wikipedia, it wouldn't be as hard to get people hooked on the idea. Then, this idea hooked me.

The idea that I had was to take everything that I have learned from this class, wrote about in my blog, or commented upon on others blogs, and connect them through the flexible structure that a Wiki provides. As a benefit, the Wiki can allow users to upload a variety of print works to express a POAM. It can then describe that inspiration for making that style of artwork. It has a wider audience base than a normal print work and, most importantly, it is constantly evolving. With all users having the rights to alter a POAM, a NEW Poetic Form can be created; in one which that can constantly changed and evolve after the death of the original author.

Specifically, when I think about why I create a POAM, I do so for two reasons;

1. Because I need to express my ideas about my past because they have affected me so much that I feel the need to protect them over time OR...
2. Because I want others to experience what I have experience, or understand what I have felt.

Now, when I think about great poetry, one thing that always grasps my attention is the ability for me to connect to the reader, or for me to connect to the writer and be able to understand how he felt when he/she has created this type of poetry (whatever it may be). Creating a system of enclosure as a Wiki can act as a portal to identify the history of ones past to enable the reader to better connect to the writer and understand the significance of what he/she has made.

One caveat to using an Wiki as my system of enclosure is that due to its online capabilities, and its open-source structure, a wider audience has the ability to view the online poetry. In a sense, there are less boundaries as how it is created and who may have access to it (i.e. there is no cost of creating it and no cost to view it) These reasons may include (but are not the entire list) things such as using the margins, pictures, and video videos clips when creating a poem (or should I say POAM?).

Currently, the way in which a Wikipedia is set up is for anyone anywhere to be able to search for, or help write information that others may find useful. Much like how you can search for "poetry" in Wikipedia and come up with a plethora of information ideas, links, sublinks to those links, I wish for my system of enclose to begin by defining Limited Fork Poetics as another genre of poetry on Wikipedia for all others to use.

Binding this network is a system of interconnected computers that speak and share ideas over one simple, flexible platform (the Wiki platform). In this sense, a Wiki is much like poetry, because poetry in a broad sense is the ability for all users (whether the creator or the audience) to share ideas and establish a connection over a simple platform (i.e. the poem itself). One further facet of functionality that a Wiki can do that a normal poem cannot is for the author to provide historical information about their lives and reasons or inspiration for the creation of the POAM.

I believe the connections that can be made from this system are two-fold (however, there could be more that I am unaware of):

1. A physical connection between computers and/or servers AND

2. The subconscious connection between thoughts and ideas that both parties (the audience and the originator) may have a mutual interest in sharing.

Essentially this becomes a give and take relationship. Unlike a blog where there is less of a connection, in a Wiki the audience can become part of the poem itself, making it much more illuminating for everyone. Put another way, a Wiki is like an orchestra (everyone can create and participate) while a blog is like the conductor.

With a Wiki as a system of enclosure, I can not only describe the history of Limited Fork Poetics, I can use the Wiki as a speaker to all of its millions of users to inform them of that history and get them hooked on POAM that will begin to be uploaded in whatever way, shape or form.

If you think about it, without history, a Wiki cannot exist. However, without the Wiki, it may be as if the history never happened (i.e. the history cannot be remembered and is lost). I believe that the same can be said about poetry, specifically Limited Fork. Past experiences (i.e. history) has led to its creation; however, without the ability to record, redistribute, and vocalize your efforts, then all is lost. That is what I love about the Wiki as my system of enclosure; its duration is forever. It is constantly changing through new additions through users altering the original form of the POEM... YET THE OLD IS NEVER LOST!!! For pieces of poetry that are meant to be everlasting, they can be continued through time, thereby surpassing the limitations of time through Wiki in any version, any language, any culture, and any form (video, written, sound, etc.).

Continuing on with this idea of surpassing the limitations of time, I believe that in order to make this system of enclosure benefical, moreso than other systems out there, is be use Wiki as a system for more than just a ROUTE for information to travel in. What I mean is don't just use Wiki as a system to travel a piece of poetry from the creator to the audience. Use a Wiki as a route for Expression and a Route to Vocalize that Expression.

Now, I would like to define some of the characteristics of a Wiki as a system of Enclosure for Limited Fork Poetics.

Is it Flexible? - Yes, a Wiki is very flexible. Poems can be added, changed, deleted, remembered, commented on, link to other's POAMS, etc.

Is it Rigid? - It is somewhat rigid. A Wiki has definite boundaries in the sense that one must have a computer and an internet connection to utilize this particular system of enclosure. However, it is fluid in the sense that you do not have to pay for its use and can access it from a variety of locations.

Is it Varied? - Yes, it is very varied. A Wiki can encompass many forms of poetry. Its ability to adapt to whatever poetic form is being created is a definite advantage. A Wiki allows users to manipulate the representation of the Wiki page to be more conducive to the form, style and emotional appeal that the creator(s) are wishing to exploit to the readers.

Rules of Inclusion: - Although there are no rules per-say, but there are requirements that I mentioned earlier.
Included - any information relating to poetic forms
Exclusions - anything that does not add value in any way/shape/form to any of the creators or users.

One true facet of exclusion is no matter of its true origination, the POAM can only be viewed in 2D. However, this type of exclusion can be mitigated by leaving instructions to experience the POAM in 3D.

Are there any Subsystems? - Yes there are many subsystems. Because all users have the ability to re-create information based on a particular idea, each poem/page/user can be considered a type of subsystems to the Wiki. You can also linked external sources to the Wiki pages, such as websites, etc. These subsystems can lead to other systems, etc. This is why I like the Wiki as system of enclosure for Limited Fork so much. Much like the fork, the Wiki as a system can branch out in multiple ways, dimensions, forms, etc.

Hopefully, the Wiki as a system of enclosure for Limited Fork Poetics illuminates you as it unexpectedly illuminated me.

Thank you for having such a wonderful and illuminating class. I look forward to continue my life-long journey of learning through my new system of enclosure.

What this new 2D map represents is how the Red Wheel Barrow can meaning almost anything to me (but more importantly anything to anyone else). I chose to focus on the words "So much depends upon." While I am still focusing on these words, I chose to expand my thought process for what those words could transition into. For me, they transitioned into thoughts of my childhood, my oldschool soccer friends, my family, my high school, and the path I chose to get me to where I am today. Thus, I represent the abundance of mini-paths and encounters of individuals with a question mark. I find significance in this question mark, because it may hold a different value to me than it does to other people.

I believe the chickens presence is two-fold. First it is to show where my idea for the 2D map came from (that is from the poem itself). However, it is also meant to show how a new perspective (i.e. a new version of the poem) can mean different things to different people in different cultures and at different stages (or layers if you will) in ones life.

This was one of my favorite representations, as it has multiple meanings. Our initial attempt was to try represent the fork as a symbol of power (or possibly a weapon), symbolizing it with a Trident. We also included the negative space of the trident to express that power and represenation of the Trident must come from elsewhere.

In these next two pictures, you can see that we showed the fork as a chair, but not just any chair.

First, the chair can be seen in its literal sense; as an object that can be sat upon. This is totally different that a more interesting interpretation can be a place where ideas and friendships can develop; just like what has happened to me during this semester while we have sat and expressed our ideas in class.

This picture was to give a relative representation of the space, both positive and negative, of the makeup of our group. The 4 spheres serve to represent 2 points. First, since our group was made of two girls and 2 guys, we needed to enhance the perspectives that were being utilized as we continued creating out fork ideas. The other point is the physical location of the spheres themselves. This represtnations the time and space between us as a group, as during the beginnign of the class we were not together collaborating as one unit. Lastly, the wheel contrasts the separation illuminates the unity that our group found in collaborating on ideas.

The next picture is of a computer, which represents the programming command fork().

In programming, a function was thought of, and the best way for programmers to remember to use it was to give it an appealing name. Essentially, the command copies itself by forking or branching out; thus, the reason for our connection.

Before Nick and I attended the production, we tried to read the poem to be readily prepared for the interpretations that await us. I believe I can speak for Nick (as well as myself) when I say that the first time reading the poem we didn't have a good sense for what was going on, or what was being described. Even so, we did our best to gather that the poem talked of the last days of life of an individual, the things that were observed and then the journey to the afterlife, and the experiences of this person there. Many things are described in detail in the poem, of what I interpreted to be those last days on earth of the individual and the interactions with the things around that person.

The Production (or poam)

This production acutely reminded me of the production you were involved with (Arts and the Brain). The production allowed the audience to become apart of the poem as well as using the projector screens to amplify the emotional appeal. Making it more personal, the production narrated a story of a certain person moving from life to afterlife, and his experiences before and after he was 'living.' They also added a comedic element to the poem which made it even easier for me to relate to. When I think of the poem Sunday Morning from now on, instead of relating to the words of the poem, I will make a much stronger connection to the poam because of this production and its resonance to the topics we have build upon in this class. Its visual appeal and ability to provide a 3D map of a man's last days of life had a profound impact on me.

"Please don't overlook the poam configurations that exist within a scale that seems like incredible brevity from the human scale --poam configurations which may endure only as long as a lightning flash --sometimes the evidence is only a radiant pulse we (think) that we feel, we believe that we have experienced even when there is no proof but our commitment to belief."

When I first read this comment, I immediately thought about my dreams. The dreams I remember and those I wake up from in the middle of the night with a cold sweat only to forget in the morning. Smack in the middle of the moment you feel such a saturation of emotion and clarity in thought that you do not know how this could have ever slipped your conscious mind. These moments are the ones that are so dissatisfied to have if I am unable to remember them when I awake.

Many times I have dreamed something that I promised myself in the middle of the night I would remember. For some reason, I like to write down some of my more interesting dreams; I feel that they sometimes reflect my unconscious thoughts when I am awake. These thoughts in my dreams sprout from their need to surface themselves in my head; they crave attention. What better way than to express themselves freely in my head while I sleep. Furthermore, what better way to exemplify a poam configuration that may seem to last moments, seconds, hours, or even days (I could never really gauge how long I have been sleeping; I could only gauge how long my dream would last in my head while I was sleeping.)

Much like your thoughts about what a poam actually is (i.e. is it the act that creates the idea to write the poem or is it the actual poam on print/video media/etc.), I feel that dreaming and then writing poetry is the explanation for why I feel that it must be a combination of the two; segregated from each other, and you have a disoriented picture of what you want the audience to experience.

I am a believer in that the more you know about a person who writes poetry, the more you will enjoy their poems/poams. I say this because a printed poem is supposed to express emotions and feelings, an idea or thought (just to name a few); what better way to experience these things than a first hand encounter? Whether that be discussing the situation which led to the writer creating the poem, or actually experiencing it yourself, having that connecting (I believe) amplifies and illuminates the reader that if you were to know nothing.

Simply put, the more you understand and have experienced about the underlying factors that have contributed to the making of a poam, the more you will enjoy it. You could even argue that with enough encounters, you may become part of the poam (or future poam).

In addition, I believe the purpose of a poem and is audience is dependent upon the actions/factors that stimulate the thought. For example, there are many things I write about, very personal to me, which I do not want anyone to see. I write for my own pleasure to remember exactly how I felt at that moment; I do not want to loose any emphasis with time passing (which unfortunately many times I fee like I do). On the other hand, there are times which I write for the enjoyment of others. I desire the connection between the reader and myself; whether this connection is to illuminate them about my life does not really matter. What matters is that in some how, some way, I have added value to that individuals life. That is the pleasure I take in writing poetry.

I do not even need confirmation of this connection either; praise or criticism is not something I strive to obtain when I write poetry. Absolutely, I am eager to learn about how others respond to what I think/feel, but I do not need this to feel that I am making a difference. To answer your (Professor) question, I work hard to create poams because I know that if I do not, it will haunt me.

One thing that I found intriguing was the thought of a fork possessing something. The thought of a non-living object owning something was an image I had never really considered before. Needless to say, it led for a very fruitful discussion.

As we began to think about how a fork could possess something, we ran into the need to clarify between all three types of situations.

We agreed that there is no need to think that one distinction can only fall within one of the categories. Within each subcategory, there are numerous variations of a 'fork.' Many of these occurrences we found in everyday life. For example: the act of eating. For simplistic reasons, we can assume that there are many situations in which you would use a fork (i.e. to eat a steak). However, in the act of eating, you must pick up the food with the fork; therefore, at some point the food belongs to the fork and no longer to your plate or you.

After coming up with a laundry list of situations and physical properties, I realized that I learned the need to think and develop ideas in a creative, almost unorthodox, way. Doing so can expand your horizons and help you write poetry that be more meaningful due to the additional 'surfaces' of meaning you may embed within it.

My father was born and raised in Greece. Immigrating over to the United States with his brother at the ages of 16 and 15 respectively, they were forced to understanding the true meaning of a sibling bond. Neither my father nor my uncle understood how to read, write and speak English, however, they both managed to make their way in an unfamiliar place. They relied upon each other for things that normal Americans do not. Eventually, my father payed for my uncle to obtain a college education. He did this because he loved him. Needless to say, my father and uncle are very close; matter of fact, my entire Greek family (some who still live in Greece) speak daily.

I myself was raised this same way. Having a brother whose interests mimic mine, we have participated in almost everything together. We think the same. We share mutual friends. We even are successful on a relative scale; that is why spending my first Thanksgiving away from him had been an illuminating experience.

My brother an I are both interested in business finance, specifically investment banking. Investment banking requires putting in over 100 hours a week; it is more uncommon to have a free weekend than it is to enjoy one. That being said, the job is stressful, time consuming, and decisions are always made at the last minute. Having an investment banking internship this summer illuminated me to this fact (perhaps another illuminated moment although it already occurred), however, my parents were not. Once my brother called our house to let us know he could not join us for Thanksgiving due to work responsibilities is when my illuminating moment struck. Simply put, I realized how much I have taken for granted my family always being around me, and how I will be sacrificing what seems like a luxury of the bond I share with my brother.

For 21 years of my life, I have spent sharing every holiday with ALL of my family; this is no more. The sense of home and feeling of togetherness and security is no longer. I finally realized that it is time for me to start making a new home once I graduate college and enter the workforce. Although I believe that many people may have a similar illuminating moment, I believe mine has been amplified due to my family upbringing and values they have instilled within me. Visiting distant cousins in Greece almost every summer can be no longer what I look forward to with my brother, father and mother. No longer will I be able to play tennis with my brother every day of the summer or kick around a soccer ball. No longer will I have such a close relationship with my brother and have an opportunity to confide with him in every little decision I make. No longer will I have this guidance. My illuminating moment is the urgency to find a compromise between success in my career and my family and how do I plan to keep everything I adore so much about my life.

The biggest problem may not have even been addressed; none of my family members are about to do what I will; that is, work 100 hour weeks in a city that is out of driving distance. None will know the stress I am under or the responsibilities I will hold. I will have no one to confide in; yes my brother will be doing the same thing, however he will be too busy to talk just like I was this summer and just like he was this Thanksgiving break. That leaves me with my illuminating moment of being alone, really really alone.

As I think of my situation, and the situation of my brother, I can't help but think of the famous poem written by Robert Frost, "The Road Not Taken." If you are unfamiliar, you can go see the poem here
.

My favorite lines of the poem are the last two (my version):

I took the one less traveled by,
And that has made
all

the difference

I feel these two lines (or in my version, 4-excluding spaces) most closely resemble the life choices I have made and how it will impact me, my family, and the relationships I hold with them. It is because of these choices that I am who I have become today, and also how I will raise my children. My only hope is that my children will share the same bond my father has with my uncle, or like I have with my brother; I hope that sense of family values stays intact.

When I first attempted to decipher a real life display of a Sestina not in poem form, I hit a road block. I began digging through any pieces of information I could find, and trying to draw some similarities between a sestina and this other form of making.

After a while, I began thinking that perhaps some things cannot be connected through the original framework and definition of how a sestina is described.

In a broader sense, a sestina is simply something with a fixed structure, allowing creativity within relative limits. These sets of rules are what a sestina is known for; without them, you loose the essence of what a sestina is and how it derives meaning.

Under this new broader textual framework of a sestina, one thing that I came up with in any style of hip-hop lyrical music is that of a chorus in a song. A chorus, with the same words, formed in the same structure, is used to separate different thoughts within a song. However, each one of these parts must be connected to the chorus to illustrate an overall idea or theme about the song.

One way you could create a sestina from the chorus would be to use the same words, just in a different order each time the song calls upon the chorus. I think it would be interesting to see how the perception of the song would change given the fact the order of the lines of the chorus will be different each time. Would it still hold a particular rhythm? Or would his change distort or take away the meaning of the song overall?

I think the usefulness of a sestina is different for each individual. When I think about the value of a sestina, I think about what type of impact the sestina made in the lives of its viewers. What allows a sestina to make this impact. Is it the structure? I think it partially is. The effort to make a sestina is one reason to read it. Much thought is needed to create such a product that can add value to others.

Given my foresight is limited (i.e. I do not know everything that may affect the future of sestinas) I do not see anything that may dwindle the popularity of a sestina. While much of this class talks about poetry outside its normal forms (i.e. text pieces) I see no reason why a sestina cannot be made in 3D. While some assumptions may need to be made (i.e. showing the same pictures or vocally saying the same words to have the same or different meanings) I would see it as just of a challenge to make a sestina in 3D as opposed to its textual form.

To wrap up and bring full circle the general framework of a sestina, I thought about my summer internship in investment banking. Much of what we do it create models. In order to be useful, a clear structure with ending financial numbers is needed (i.e. the same 6 words). However, the method in which you create those numbers which hold the meaning can change. For example, you can change your assumptions about the company. You can change what you wish to do for the company. Lastly, you can change the relationship you may have with the company. Despite what method you choose, the ending results should be the same.

For some reason, this notion of surfaces made me think of something one of my math professors told me one day in class. He was explaining to me Zeno’s Paradox of the Tortoise and Achilles
.

Just like in this theory, cutting through space (just like cutting through a new surface) only reveals more space (or more surfaces). I find it interesting because no matter how hard you try to reach your destination (or depth) of choice... there is always something else to consider.

However, at the same time I feel that its strengths are also its weaknesses. Because you must repeat so often, it is hard to incorporate loosely related concepts because you must follow the structure of the poem. While it is very good to use if your ideas are few but have much depth, on the flip side, it may be restrictive if you want to incorporate so many things that you are unable to do so in detail due to the sheer number of angles you wish to take.

I definitely feel that this form of mapping should be continued. Much like an art form, because of the difficultly in writing one, it signals to the reader that something beautiful has been created, and to look for the deeper meaning because it is there. One thing I thought about was if you already had a sestina, but just changed the order of the stanzas, would you still have the same sestina, or some new form of mapping? And would this new mapping (if it was one) leave you with a deeper/different understand of the idea being represented in the poem itself?

I also have some additional questions I would like to ask you before completing this blog. Hence, more to come later!

The original poem read:

I caught a tremendous fish
and held him beside the boat
half out of water, with my hook
fast in a corner of its mouth.
He didn’t fight.
He hadn’t fought at all.

During this initial read, I felt that the emphasis of each line was on the last word (fish, boat, hook, etc). However, I didn't really feel like the significance of the poem relied upon these same words. This is why I enjoyed the newer representation of the poem much more. One difficulty that I feel that many readers have about poetry is finding which words to stress and what types of intonation to place on those words. The true source of where the emphasis should be can only be understood by its creator; thus, one can only really know how the poem is supposed to be read if the originator reads it himself/herself.

However, I feel that ones understanding of this allness becomes drastically different if you read it with a new spatial reconstruction. The reader can better decipher what is most important in this poem (in part due to its location on the page) and how to better read the poem (the reader is no longer able to read down the page from left to right). It creates a deeper connection with the reader because the reader is forced to follow the words in an unconventional way; establishing a deeper understanding to what is being read.

Now, let us discuss the effects of this alternative spatial construction.

The first difference I discovered is that the poem seemed less fluid; this is due to the fact that the reader can no long just "read" the poem. Rather, they must find the words that are supposed to come next. For example, in the reconfiguration of The Fish, the words "a tremendous" are place further into the page, with a few horizontal lines separating its text from words that came before and the words which will follow. To me, I read this part differently, putting particular emphasis on " a tremendous" rather than just reading those words normally as I did in the original poem. This has significance to me in two different ways. First, it make me read the poem different. This illustrated to me that the fact that this fish is tremendous is important to the overall meaning of the poem. Secondly, I feel that placing these words separated created a sense of "foreshadowing" of what was to come. If this fish is so tremendous, then why would anyone want to catch, and kill such a beautiful thing? Without this reconfiguration, I strongly believe that this meaning is lost within the uniform structure that many people choose to follow today.

Overall, I believe that the new reconfiguration conveys The Fish much differently than the original poem. This is due to pointing the reader in the right direction as to how the poem should be read and understood (if there is a right way/understanding to read it).

I was immediately drawn to the center of the room; strategically placed mirrors filled the room. Their meaning was interdependent upon other mirrors and the negative space that surrounded them. Each screen was displaying a central picture; a central idea. With people walking through the negative space surrounding the mirrors, the living individuals became apart of a non-living piece of poetry. Personally,I found this one of the most exciting things to happen during the introduction of the event.

Furthermore, people interacting and moving among the mirrors were all wearing white caps. So while being unique by involving a living element to the poetry, they also created a situation that was not unique (due to the fact that noone could tell who was who). However, each person did move differently.

We spoke in class about whether the individuals that were apart of the event had practiced movements (some were dancing, while others walking, while others interacting with different people, while some staying stagnant at times). I personally found the interactions amongst each other the most interesting. While some people may have had more than one interaction, each response was individual, creating a new and inimitable piece of poetry.

What made Arts and the Brain so interesting to me, is that the participants reactions created an ever-changing map. Each person's cognitive brain functions were telling them to respond in a different way. This solidified the point that this map was to be fluid.

The handout from the demonstration also proved this same point. Much like oragami, the map was able to be manipulated to discover new "pieces of the puzzle" so to speak.

I really did find this demonstration to be rather interesting, and look forward to any new developments similar to this one.

Towards the end of the class, we were discussing problematic issues with figuring out how to gauge the productivity of ones own economy. We discussed in detail about how one cannot access the progress of ones economy based solely on GPA; but rather some portion should be set aside for the happiness of the individuals living in that community and what value they place on happiness vs. economic growth.

Similar to the world map of happiness, this economic concept analyzed the health of the economy through the happiness of the individuals who life within the economy. So for example, since in the world map of happiness the US has a relatively low rating, our economy should be doing relatively poorer than our counterparts.

I definitely thought this was something interesting to look at, especially considering how many different cultures can perceive happiness in so many different ways.

Many things in life are a portal to particular parts of our life and our feelings we associate with those parts. As a result, it no longer remains a toy, but rather a key to the connection we make with it (i.e. if we were given the oven as a toy by our mother who has passed away, the oven could now represent a key to our mothers spirit and experiences we had with her).

When each factor that could define whether the oven is a 'Toy' or something more is examined, it becomes difficult to label an object. This is ultimately due to its increased significance with its increased history.

1. Slow down. I think that many of us, myself included, are so eager to create a product of poetry that we rush to finish to have something worth showing to others. However, I have learned, through this class, that sometimes a poam may take weeks, even months, to have a finished product. Even more so, it can be constantly changing; in a sense, it is almost never completed. Completed means that no further progress can be made. Completed means that nothing else can be done to increase its appeal. In poetry, I do not think this is ever the case.

2. When you think you’ve gone absolutely as far as you can, keep going. One thing I've learned throughout my educational career is to always push myself further than I anticipated in the first place. I see no reason why this concept should not be applied to poetry. Some of the greatest creations in science were stumbled upon; why not in poetry?
3. Take your mind and thinking on trips away. Staying conservative is a signal of fear. Either fear of stepping outside of your comfort zone, or of not creating something new. Push yourself to try new things.
4. Listen. One thing about poetry is that the best poems establish a concrete connection with a reader. Listening to their concerns or even listening to your own poetry can help spark new ideas or techniques to help create those connections.
5. Delight in metaphors and analogies. "Every object or idea can stand for something else, or suggest an unexpected link. Dull people restrict their thinking and reading to what seems obviously relevant. Clever ones peer into what isn’t. You’ll maybe discover far more about working life from poetry, philosophy, or good novels that you ever will from business books and self-satisfied self-help writers." I don't think I could have said it better myself.
6. Run away from any kind of dogma. When I think about this one, I think about how religion can restrict the vision of a poem due to cultural differences. Allowing yourself to connect with those other cultures can create an even more admirable poem that extends beyond geographies.
7. Never aspire to be fashionable. Following a fad implies you have no uniqueness of your own. Aspiring to illustrate your individuality, in your poetry, is what makes poetry so worth while. Being able to express yourself is personally what I find so worth while. Being able to tell others how I feel, in my own words... thats what I like
8. Stand on the shoulders of those who went before you. There is no harm in learning from the greats before us. Stepping stones were created not to be complacent, but to go further than before.
9. If it’s habitual, consider dumping it. Habits keep us from trying new things or new methods of poetry. What I like to do with my poetry, is once I've realized I am constantly writing about one emotion, or one part of my life, I like to go out and experience a different emotion, then continue to write. It may work for someone else.
10. Begin anywhere. Enough said. If you start in the beginning of a poem... thats ok. At least you've started. Work from there; that is what makes poetry so interesting anyways. Besides, who nowadays gets it perfect the first time around?

You can see the original list of explanations here.