After five years of work, my own Stein Poems project (GNBLFY Jackson Mac Low) is finally complete and published for your viewing pleasure. same: a Stein wreader was written with the Gnoetry and jGnoetry interactive poetry tools; it draws upon the writings of Getrude Stein along with several other source texts (philosophical and Buddhist texts primarily) to construct poems that (I hope) draw closer to the heart of being living.
The chapbook is free, so download it, read it, encourage others to download and read it. Every unique download counts!
My notes section says everything (probably a lot more) than you may care to know about the project and its inception, so I won’t repeat it here.
I hope you will enjoy it and engage with it. I feel writing it has enriched my life; I hope it may do the same for readers too.
While your’re at it, view all of my chapbooks with Beard of Bees.
I’ve been thinking about practices for setting up successful live improvisation for two Ableton Live users. Coming from a background of performing in jazz and wind ensembles, there are significant differences to take into account: the “instruments” here are much more sophisticated and can produce an huge range of sounds, styles and tones. Improvisation must occur on multiple levels as a more textured composition emerges.
From my experiences over the past year improvising with another Ableton Live user, I think I can conclude the following:
- There is a tendency, even a desire, to be subsumed by the processes happening on the screen. At the top is the music and sound being produced; much as the actions of your improvisation partner are not always clear to you or in your perception, and you only focus on his/her musical contribution, so your own actions can be subsumed under the end musical results. The body and machine are integrated, and the product is what matters most.
- While one is improvising, one is primarily in a reactionary state and not an active state of thinking. This is true in most forms of improvisation, as years of study and practice on an instrument must make the performance of music as spontaneous as possible. It feels even more reactionary in Ableton, though, as more active forms of production, like the preparation of samples, instruments and other sound palettes are too time intensive to be done in the midst of an improvisation.
- Because of this, preparation of sound material and some sense of pre-arrangement of different instruments and samples is necessary for one to be successful in a group improvisation with DAW’s like Ableton.
On another note, I have found that working with Ableton Live in some ways mirrors my work with the Gnoetry 0.2 computer poetry program. The sense of being subsumed into the process unfolding on the screen is sometimes quite total. It is a part of the compositional thought process, and my own thought and decision-making is combined with the prosthetic cognitive tool on my screen and at my fingertips via my keyboard and mouse.
I plan to continue this writing on the connections between compositional practices and strategies in different digital art forms on an ongoing basis. My experience alternating between projects in digital music, digital poetry and digital art over the past year has helped me to see some of the similarities and differences clearly enough, I hope, to make some useful connections.
The journal is focused on the writing process and features long submissions from six poets. You can read some of my poems from same: a Stein wreader, along with archival poetry, Dead Sea poetry, clay box poetry, footnote poetry and visual poetry. A great assortment of goodies!
Read this explanation of the Gnoetry 0.2 program and my writing process + aesthetic with it: Confessions of a Cyborg Poet: Gnoetry, eRoGK7, and Human-Computer Poetry Generation @ Sycamore Review Blog.
Writing with Gnoetry is like playing a game called “What is the best poem you can sculpt from this language?” Since I approach it as though it was a game or puzzle, it makes me feel less like the author of the poems I create through it—less an owner and more a participant—so I feel much freer to experiment and less anxious about writing about sensitive or possibly offensive subjects.
Now out from Beard of Bees Press, my collection of “otherwise” poetry, ]] and other 9/11 works, addressing 9/11 in three distinct works which were composed in concert with Google Search, Gnoetry 0.2, and Google News, respectively. The note explains the process and establishes some context for each work.
I hope you will download it, read it, and engage with the political and human issues it raises.
And maybe enjoy it a little too 8~)
That’s right. A selection of the best of Gnoetry Daily from the past couple of years, chosen by the authors for your pleasure and edification.
Read it! It’s free and it’s wonderful!
GNOETRY DAILY VOLUME 1
Over the past two weeks, I have been working on a chapbook of poems (or maybe poetic compositions would be more accurate) which deal with my feelings and thoughts about September 11th, 2001 on this tenth anniversary in a way that I hope is both artful and tasteful.
I’ve written an introduction and posted the three (somewhat incomplete) parts of the chapbook up at Gnoetry Daily over the past three days under my alter ego username eRoGK7, so I’ll stop introducing the thing here. Know that there will be more of the Gnoetry section (Part 2) going up for a while still.
I hope you enjoy it, and that it makes you think about and reflect upon various important things.
Said of WikiLeaks: “Could become as important a journalistic tool as the Freedom of Information Act.” – Time Magazine
Now its a poetic tool too. Over at Gnoetry Daily, Eric Elshtain has initiated the GnoetryLeaks series, what could amount to the most transparent poetry series of all time, using individual leaked U.S. embassy cables from Cablegate @ WikiLeaks as source texts. I’ve joined the project now, and soon we plan to collaborate on several pieces Gnoetry-renga style.
It’s all so exciting!
Many thanks to Nic Sebastian at Whale Sound for this powerful reading of “I was just as the men in her, the” from a light heart, its black thoughts, my chapbook collaboration with Gnoetry. It is not an easy poem to read, so I commend her for choosing it. As it was written with Heart of Darkness as its source text and post-colonial critiques of power in mind, I hope it will be understood within this context and the context of the other poems in the series. You can read the chapbook and my introductory comments on the text via my page at Beard of Bees Press.
Whale Sound is an audio archiving project that posts readings by Nic Sebastian of contemporary poems that in some way have affected her. I not only find it to be based upon a sound concept (see the About page), but it functions also as a sort of personal audio literary journal. It’s a very exciting project, and obviously one that was simply not possible before web 2.0.