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November 30, 2007


Let me share that of course radiant (or illuminating) qualities of poams may pass through us --for myself, this passage is much closer to certainty: I believe that radiant qualities of poams pass through me whether or not they do in any measurable reality.

(image from Quasar9)

This comes from a comment I left in Maxell's Blog
"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.

So please watch some of the videos in the link below about the poam configurations that occur. often incredibly briefly, in the work of "nature collaborator" Andy Goldsworthy (don't you find how he self-identifies so illuminating? He tags himself with identifiers in a manner that maybe perceived as similar to Elizabeth Bishop tagging her sestina poam "Sestina." Consider the certainty that something has been correctly identified in such tagging).

You Tube excerpts from "Rivers and Tides," a documentary about Andy Goldsworthy in acts of making:

What can you say about intention when the poam melts, floats away, collapses, is carried away in its components by water, etc.?

Who is this for?

What is the value?

Why work so hard for something that does not result in the kind of monuments that often indicate human presence? Monuments perhaps designed to outlast us --why?

How do we study such poams that no longer exist? --only the record of the poam having happened remains

But then again, and I urge you to think carefully about this; but then again, why assume that what is on the print page IS the poam? In some ways, is not the print object a record of the event as it occurs in the mind and feelings of the maker? Is not the illumination something that (sometimes, when the maker is lucky) occurs in the impulse to make, in the act of making? And while the print object may illuminate those who experience it, what is being experienced may be a model of what the maker experienced to produce the print object and not the actual poam event."


Here is a chromatic motion print (a map) of the sonic tracks made by a Claude Debussy piano poam, as incorporated by Nick in his posted response to this post:

According to Nick: "This work takes the piano score and visually shows the song as it progresses. There is also an interesting representation of color in the piece, which helps to remind of Debussy's quote about color, music and ideas."


Perhaps more tangible is reminding us to (re)consider what we may assume is moving through our bodies although we usually do not see the subcutaneous travels of blood (though we may see the mapping of veins and arteries under the skin, may see pools of bruise blossoming).

The electrical coding of idea in our neural networks in not usually seen, but does happen, is happening as I type, as you read.

As stated in this description of a part of Body Atlas
at Ambrose Video where the series is available:
"Day and night, there's a clock ticking within our bodies. This clock is driven by chemicals in our blood-stream, the body's hormones. Made by half a dozen glands scattered throughout the body, hormones provide the unseen balance within our bodies that keeps our systems in harmony."

(image from Ambrose Video)

There are yet other instances of sensory awakenings as a result of unseen particles and waves passing through us (indeed, when to >i>see an object is to have unseen mechanisms deliver a rendering of an object to the optic nerve. There are occasions when unseen neural events allow, for instance: . The name for these a typical perceptual events is Synesthesia. The outcomes of cross-sensory interactions are synesthesian poams

Brainwaves (image from Corante (Brain Waves monthly archives)

Jane Mackay painted “Tchaikovsky’s First Piano Concerto? to creat a synaesthetic composition that bridges the gap between sight and sound. (Credit: Jane Mackay)

(image and image caption from Yale Scientific)

Consider this illuminating imagining as you prepare your system of course enclousure(s):

(image from Synethesia Research)

Another take on transient forms passing through, interacting with the body unseen is part of the Story of Pakistan

Commentary about dreaming and neutrinos are at Science Musings Blog

--And do not forget what happens when we do, at some moment, Go Gentle into that Good Night:
the passage of consciousness through? out? of the body?

--Is it the very idea of the self that departs?
that degrades?

--even Houdini, who promised to return to report what the other side was like, has not done so; even Houdini--.

Harry Houdini, who himself built a career on creating illusions, was critical of "spirit photographs." To expose the fraud, he photographed himself with the ghost of Abraham Lincoln.
(image and caption from: Wasington Post.com where the image source is listed as Library of Congress

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November 29, 2007


FORK: for attempts at access

(including the accessing of illumination)

About My Forky Qualifications:

--a diploma of course, but also the headline of Scandalous Tines

(Just a little reminding that I do know something useful, something illuminating about forking systems)

You have considered situations of fork, properties (plural) and property'sof fork; multiple and separate bifurcations can occur in a simultaneity that is not confined to a single increment of time for its measure; no universal human understanding or experience of time. Simultaneity is used to refer to a number of events occuring at different interpretations of time during a length of time specified according to a system of time measurement.

This basic approach to time can be applied to poems (a form of poam: products of acts of making), establishing some of dimensionality and complexity of poem duration. It is not necessarily the case that a poem progresses in time with all systems of the poem sharing the same system of time measurement. Each stanza, each line, each word may use different systems of time measurement in order to respond to events. While at line endings it is natural to go to the next line, that next line may be located on a differnt plane of existence (consider how stars in constellations are actually vast distances apart and are not radiating in the perceptual formations apparent from earth).

The line break is a bifurcation point, a location where an event (the line itself) has obvious opportunity for change. The corner that a line break is also offers multiple directions, some not as well formed as others; so for many interacting with the bifurcation point, only the movement to the next line seems s reasonable choice. It is a reasonable choice, but not the only choice, for the line continues, in all of the directions possble from that bifurcation point. Various conditions and interactions with variables encountered in those directions shape the structure of form of what ovvurs in a particular location along a particular continuing line.

Just as tools of magnification can help reveal other scales of activity, so too can magnification of conditions along any of the continuing lines at any bifurcation point (some lines passing through the point of course, not just/not necessarily originating at the point) help to reveal some of what occurs in the poem when a line is continued.

Not only line breaks are bifurcation points; any point in the poam can be, but the status of bifurcation point is particularly evident at line breaks, and the term line break does much to remind those interacting with the poem that a disruption has occurred, disruption offering a powerful invitation to opportune variables to get a foothold in the obviously vulnerable poem system, and attempt to shape/reshape the poem system (to some degree, a negligible degree, a profound degrees, & so forth), perhaps toward increasing staibility, which may hold for some moment (as measured on some system of time measurement) before once destabilizing, or these opportunistic variables may help the system destabilize further, at some rate on some scale for some duration of time.

In some systems of interprepation and literary analysis, investigation of the range of what can happen at bifurcation points in poems is not conducted, but in Limited Fork, it is important to understand the possibilities of a system, and to determine the rules at work in the various situations in the host location(s) of the poem, which even in the case of print poems on paper is not confined, or limited, to the paper page, for the interaction of a reader with the print poem, removes a subsystem, the act of reading the poem is a bifurcation from the print location, but I am also interested in the rest of the activity in host locations, and in where/how that activity moves in time.

Each tine or prong of a forking system can approach something different, in different planes of existence, locations of different materials and substances.

The tines themsleves may be composed of different materials at different times in different locations.

The limited fork functions within what is possible for the device, those possibilities adapting to what is possible according to the particular iteration of fork in use, an interation shaped by use and by the situation in which it is used. Collaboration is extremely prominent in systems of behavior in interacting bifurcation systems. That the systems interact implies collaboration.

Keep in mind:
These are quite generalized comments; they are not made in reference to an enhanced or extended or magnified surface or layer or scale of fork dynamic behavior; modifications will be made to account for specifics according to the situational focus of some aspect at some moment in some investigation.

Bifurcations may occur at either end, along tines, along the handle, at any location of the forking system of which an eating utensil fork is only a generalized model.

A generalized static model of a bifurcating system, image by Linda Wright/Science Photo Library. Includes interactions with sub-effervescing(a bifurcating form) system and interactions with light.

No information is given at SPL about the material of the fork, the weight, the length, the design of the handle or even whether or not the handle extends.

Here is a generalized diagram of how a fork eating utensil is made:

(from How Products Are Made: Volume 1: Cutlery

**Tine shift: Science Photo Library is a great location for science-related images which may be freely downloaded in their low-res versions as long as the credit is given fully. The fork image used here is an example of SPL's low-res quality.**

My favorite limited forking system, my favorite sition of fork, my favorite fork property is the mouth of the Ganges

as shown in this NASA satellite photo of southwest Bangladesh shows where the mouth of the Ganges River meets the Bay of Bengal (as featured on the Georgia tech research News site):

A model of the Ganges bifurcating system is available for purchase from Hidden Art Shop.
The Ganges Delta Cube by DH Products

Photo by Full Focus.

The Ganges Delta Cube is based on an aerial photograph. The delta could be seen as a huge evolving drawing made by nature. It is long lasting, in contrast to the transient qualities of lightning.
(from the Hidden Art site)

(recall the Lichtenberg Figure as seen below, image from Bert Hickman's Tesla Mania site, gallery 2)

FORK: for attempts at access

(including the accessing of illumination)

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November 27, 2007

The Great Situation ID challenge (YOU CAN WIN!)

While you're engaged with determining your 50/50/50:
situations of fork, properties of fork (plural), and property's of fork (possessive),

I'd like for you to visit a gallery of fish prints by Annie Sessler; note how much detail is revealed as a result of this intimate encounter, the beauty of structure and form (I say this with a bias toward a belief that disarray, that irregularity, that chaotic systems --that that resist accurate prediction of their specifics display form, have structure).

(ART OF THE DEEP A black sea bass, inked in white and printed on black silk by Annie Sessler)(image from The New York Times)

(Recall the level of detail in The Fish by Elizabeth Bishop and the details & understanding of structure that emerged for the student who experienced direct contact --or interaction with the fish in The Student, The Fish, and Agassiz.)

(and saying this has made it necessary to also take you to Saint Francis and the Sow by Galway Kinnell, a print poem I wanted to steal because it is necessary sometimes to reteach a thing its loveliness, and that lesson sometimes has a better chance of being taught/transmitted and learned/received if the teaching/learning occurs in words and touch --you can read Contemplating the Theft of the Sow here, if you like; it is the second essay in this group. There is not yet an essay in which I comment on the successful theft showcased in Tokyo Butter)

Part of your task is to determine how to get something to reveal its properties and property's; what are the situations in which revelations of aspects of something (are more likely to) occur?

Consider the poam as one of the somethings with something to reveal; sonsider that even an incoherent poam has form, has structure --what are the situations, what are the modes of consideration (feel free to invent modes of consideration) in which the poam reveals aspects of its nature, in which ways to enter and exit the poam become apparent to you.



By the way, Robert Hass, former US Poet Laureate is coming for an AIDS Awareness Day With(out) Art event on 1 December at 4 pm in the Rackham Amphitheater.

(September Inverness, a broadside created for Between the Lakes: an Interlochen Symposium for Writers and Readers, which features this previously unpublished poem by keynote speaker and former U.S. Poet Laureate Robert Hass. Printed on mould made Somerset Textured paper (250 gsm). Text font is 18 to 36 pt. Bernhard Booklet and Bernhard Roman. Sheet size is 10 by 11 inches, limited edition of 200. NFS Deep Woods Press.com. Caption and broadside from Deep Woods Press.com)

To experience print work and audio versions of print work by Hass, please click here
and to experience more print work and audio versions of print work by Hass, please click

Do take a close look at Sonnet by Hass, whose print poem in the sonnet form bears the name of form, proudly, as the poem's title and earned badge.

Recall that the form badge as title was also a naming strategy in Sestina by Elizabeth Bishop.

So that the third of the three primary traditional formal poem forms can join the sonnet and sestina, please take another look at Do not go gentle into that good night, a villanelle by Dylan Thomas, probably the most famous, certainly the most anthologized villanelle.

These three major forms of tradational poetic forms offer examples of obvious structure. The basic rules can be determined fairly quickly. Other form and structure, in these examples and of course elsewhere, may be embedded, may be more subtle, but still possible to identify upon examination and reexamination in a variety of situations --for it is possible to discover that there are rules and patterns of configuration that may sense when examining a poam, rules and patterns of configuration that have not been applied to those poams before.

Validity of assessment of a poam's situations/properties/property's is not limited to what has been previously determined;

indeed, you have a limited fork (that itself, as a tool of poams, has situations/properties/property's) that can turn up new ground, help you plant new seeds while also exposing roots of prior assessment. There are fertile areas of investigation that come from fields of inquiry outside of literary analysis.

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November 26, 2007

FORK: the tool, the utensil, the (forgive me this indulgence, please) way

The are five (limited) forks here tonight, presented in an array on a multi-purpose table.
Five only five similar (note the resistance to say identical) forks.

Forks similar to these, forks whose arrangement on the table included asub-arrangement similar to the arrangement of forks in this image :

(image from Global b2b Network)

Please form five groups of the fork, and designate the group member to be charged with selecting one of the five forks. The designated chooser should then choose a fork from the array on the table, according to a rationale of selection to be shared with the group; the chosen fork should be taken to the group where

SITUATIONS and PROPERTIES and PROPERTY'S of the fork will be determined.
Please identify and document at least 10 of each (for each group member, so a total of 50/50/50 --please note overlapping and non-oberlapping identifications. The group may make the 50/50/50 in which case strategies of determining overlap may become necessary.
If necessary to make any of these identifications in other locations, please do so, but return, identifications made by 8 p.m. est.

You have until 8:00 p.m. to accomplish this.


**The fork as literal, as generalized blueprint (think of how the tool is/can be used; think of how the structure influences use) will be outcomes of your realizations about aspects of the purpose of the device.**

Please refer to Fork by Poet Laureate Charles Simic.

Please also refer to more of Simic's work at poets.org

as you further ponder form vs formlessness, even the possibility of formlessness --what does your mind associate with formlessness?


For more prongs (or tines) of your fork, with some degree of transparency (which suggesys what concerning situations, porperty plural and property possessive?) go to Henry's Illumination - additional comments post and follow the link there to a Frost poem. (watch the video in his post, too)

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November 12, 2007


There is a bifurcating way in which idea is mapped into the mind.
I really must stop referring to an idea as a singular thing --oh so simple; I have an idea!--.

Perhaps the vehicle the idea uses to travel and attach itself in the mind is more like a snowflake, like the ferning of the captured lightning of a Lichtenbeg figure —what appeals to me about such a model for the vehicle of an idea is the negative space involved; the gaps between bifurcating elements, emphasizing, among other things, how an idea is now so complete that growth, that continued movement, development and so forth is not possible or necessary.

("Outline of random snowflake curve after five iterations." (fractal or dynamic/complex system behavior). Image from: LS SketchBook by example)


Before going further, please board the Drunken Boat, an online journal featuring a range of poam forms, text and hypertext, sound, video, fusion, hybrid forms. Really challenges adhering toa static understanding of making.

You will work on an illuminating packaging of your journey through Poametry.
You will start with a decision about working alone or with others.
Why would the solo or the group model be more revelatory (or illuminating) for you as you investigate the illuminating function of aesthetic expression.

How have you been illimunated? What have you found illuminating?
What is the poetry, the poem that you associate with an illuminating moment?

No poetry has served this function for you?
How can that be? Please elaborate; please offer some illumination on why
no poem has any responsibility for an illuminating moment of yours
—or could it be --say it ain't so-- that you haven't had one of these illuminating moments yet?
Could it be that you feel only one genuinely illuminating moment happens in a life?
Why such skimpy allocation?
Plural illumination might/does dilute illumination? Reduces the magnitude of the brightness?
The bulb goes out? The rocket just fizzles?

Two days, any two days, any combination of forty-eight hours worth of documenting all illuminations you encounter --they must be your illuminations, your ahs, your wows.

I figure that with Thanksgiving coming, maybe your chances of being illuminated are increased.
But I could be wrong about that.

You will look for, alone or in concert with the partners you select (if from outside the class, they must come and be illuminated with us, must share their illuminations) some aesthetic extension into Poam/poem that (also) is illumination. It can not come from a location dedicated to exposing illuminating poems. No anthologies of poetry. You must find this illumination in locations without a purpose of presenting aesthetic extension. You must share this aesthetic extension after Thanksgiving, allowing that time to possibly offer aesthetic extension.

BUT FOR NOW: You have until 8:05 p.m. to accomplish the following: identify a poem or passage of poem that you find illuminating in some way. Make sure you have a copy of the lines if you have not memorized them. Conduct a survey; find out whether or not five persons (outside of this class) have had an illuminating moment today. If not today, then when was the most recent? What made that moment an illuminating moment? When was the last time poetry illuminated the person? She the illuminating lines you identified, ask the person to respond to the lines; ask the person whether or not those lines were illuminating. **these questions are guide questions; tweak as necessary** Feel free to take this on the bus.

Speaking of illumination, ask about the Lichtenberg figure (again), if you like —there could be one in the room.

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November 11, 2007

Bishop's Sestina at Great American Pinup: AN IMPACT POST

Now that you've considered Bishop's Sestina through a mapping of your response to some questions, please go to this 5 June 2005 post in The Great American Pinup blog to read what others (the post and the comments) have to say about this sestina.

Please investigate other comments about this sestina here and here

Go here and herefor the history of the sestina and for exercises to help with your understanding and/or appreciation of the form. Do post any original sestina you map/create in sonic form and/or visual form --perhaps even a 2D or 3D puzzle in your blog.

Are there any examples of contemporsry music (with or without lyrics) whose structure is close to if not outright sestina-like? Can you find an examplke that could become closer to being sestina-like with a minimum of tweaking?

Why might we want to get intimate with the sestina form as 2007 wanes? Do you see a political or cultural or social or economic or scientific or engineeing issue where the sestina form might offer insight?


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November 05, 2007

Going Fishing (followed by the cheat)

Please go to this link and follow instructions.

Then, examine Sestina by Elizabeth Bishop and record your observations about the structures of this map.

What do you notice about the form of this mapping?
What, if anything appeals (to you) about the mapping of a poam as a sestina?
What helps this appeal and/or what hinders the appeal of this structured mapping?
How is idea served by this mapping?
What are your ideas about the (continued) purpose of such mapping?
How might you describe the relationship between map (form) and idea in Bishop's Sestina and in Bishop's The Fish (as published) and in one alternative mapping (either one of the provided remappings --here or here-- and/or a remapping that you make yourself).


Want some help with the sestina map (form)?
Are you sure?
Don't you want to record your impressions, the outcomes of your interactions with the form and Bishop's Sestina while those interactions are yours, before they interact with the cheat stuff right here at eHow?
Sure you do, so record YOUR interactions and then go to eHow to write a Sestina.

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