Entry 583 — The Text of My Triptych « POETICKS-

Entry 583 — The Text of My Triptych « POETICKS

Entry 583 — The Text of My Triptych

(This is a day late but I had it done in time, honest! I just forgot to change the “private” setting to “public.”)

For lack of anything else to post today, which is one of my null days, here’s the text of the poem in the sub-dividend product of the frame from “Triptych for Tom Phillips that was in yesterday’s blog entry:

          From is for every bound alled.
          Similarly, if is alled. {urthermore}.
          This is also the.
          + infinity (actually, the symbol for infinity) in port ever.

This is basically something about the allness of the state of from-ness and if-ness. “Urthermore” has something to do with final origins although right now I can’t think what. So does the the from Stevens that whatever “this” refers to is also. Positive infinity is said to be forever in port. All this is a close representation of “arrival,” needing only the graphic shown as the remainder to exactly represent it. The fore-burden of the text (for me) is that a poem is an arrival. Note, however, that this text has three different direction to turn into a departure into. To begin a consideration of one of my most ambitious and complex works that I will say a little more about, maybe, tomorrow.

* * *

Saturday, 3 December 2011, 5 P.M. Not a great day–the least productive since I started my attempt to be culturally methodical. I post my blog entry for the day, but had it done yesterday. The only thing I did so far as the exhibition is concerned is get my triptych printed at Staples, buy three frames for it, and frame one of the two sets I have. It does look nice. But I think I see how I can make another triptych that’s much better.

I also played tennis.

$15 off coupons

This entry was posted on Sunday, December 4th, 2011 at 12:00 AM and is filed under Bob Grumman, Mathematical Poetry, Mathematical Poetry Specimen, Poetry Criticism. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.

Entry 1141 — A Final Version? « POETICKS

Entry 1141 — A Final Version?

Bad things have been happening with my house, so I thought I’d take the next few days off to recover. After a simple nap this afternoon, though, I suddenly had an urge to finish the private eye poem I was working on a week or more ago. Here’s the result:

I give it a B (rating it against my poems only). I hope others will find it interesting. What’s most interesting to me about it right now is how much it seems to me it could be improved, and/or some of its details employed more effectively in better poems. I don’t want t fool with it anymore, though: I don’t think I have enough of a handle on it to know for sure what I have right in it, what not-so-right. (I don’t think anything in it is flat-out wrong.)

New Egg Promotion

This entry was posted on Thursday, July 4th, 2013 at 12:00 AM and is filed under From My Poetry Workshop, Mathematical Poetry Specimen. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.

Alison Bielski « POETICKS

Archive for the ‘Alison Bielski’ Category

Entry 31 — Old Blog Entries 663 through 670

Wednesday, December 2nd, 2009

In #663, I presented my Odysseus Suite–but the reproduction is too crude for me to re-post it here. My next entry featured this, by Endwar:

TenByTen As I announced when I first posted this, I am hoping to publish an anthology of mathematical poems, like this one, so if you have one or know of one, send me a copy of it, or tell me about it.

#665 had this by Marton Koppany, which I have to post here because it was dedicated to ME:

Odysseus

Hey, it’s mathematical, too. The next entry, whose number I fear to state, concerned this:

Bielski-Haiku-BW

This is from Typewriter Poems, an anthology published by Something Else Press and Second Aeon back in 1972. It’s by Alison Bielski, An English woman born in 1925 whose work I’m unfamiliar with. I find this specimen a charmer . . . but am not sure what to make of it. Three lines, as in the classic haiku. The middle one is some sort of filter. Is “n” the “n” in so much mathematics? If so, what’s the poem saying? And where does the night and stars Hard for me not to assume come in? Pure mathematics below, a sort of practical mathematics above? That idea would work better for me if the n’s were in the lower group rather than in the other. Rather reluctantly, I have to conclude the poem is just a texteme design. I hope someone more clever sets me right, though. (I’m pretty sure I’ve seen later visio-textual works using the same filter idea–or whatever the the combination of +’s. =’s and n’s is, but can’t remember any details.)

It was back to my lifelong search for a word meaning “partaker of artwork” in #667–but I now believe “aesthimbiber,” which I thought of in a post earlier than #667, I believe, but dropped, may be the winner of my search.

Next entry topic was about what visual poets might do to capture a bigger audience. I said nothing worth reposting on a topic going nowhere because visual poets, in general, are downright inimical to doing anything as base as trying to increase their audience. One suggestion I had was to post canonical poems along with visual poems inspired by them, which I mention because in my next entry, I did just that, posting a Wordsworth sonnet and a visual poem I did based on and quoting part of it–and don’t re-post here because of space limitations. I wrote about the two in the final entry in this set of ten old blog entries.

Tags: minimalist poetry
Posted in Alison Bielski, Endwar, Marton Koppany, Mathematical Poetry Specimen, minimalist poetry, visual poetry, Visual Poetry Specimen | No Comments »

David Riesman « POETICKS

Archive for the ‘David Riesman’ Category

Entry 1568 — Me ‘n’ Riesman, Part 2

Friday, September 12th, 2014

After more reading of The Lonely Crowd, I’ve decided I’m very much inner-directed, according to Riesman’s description of the type. I got him wrong when I though his inner-directed type was similar to my rigidnik. I now an unsure how his autonomous type differs from his inner-directed type. According to Riesman, many of his readers, including colleagues of his, confused the two. I now see why–and Riesman himself seems to consider it a natural mistake. (He is excellently self-critical, it seems to me, but has surprising blind spots: for instance, about the possibility of innate psychological tendencies: he mentions such a possibility every once in a while, but quickly drops the subject, seeming to take social determinism the only important kind of determinism in the main body of his book–or so my impression is after not going very far in it.)

I’m also wondering how Riesman’s other-directed types ultimately differ from his tradition-directed types. Possibly, I just thought, because their memories coincide with their environmental input? They pray to whomever their tribal god is only partly because they’ve been trained to, but mostly because everyone else in the tribe is. The inner-directed person prays to his god because of his indoctrination entirely: he more or less has to because he is part of Riesman’s inner-directed society and thus not sure of having the right people to imitate.

The autonomous person will differ from the inner-directed person only in that he will be much more likely to question his indoctrination.

* * *

Last night while lying in bed hoping for sleep to come, I suddenly had a few ideas for poems, two of which follow:

intuition + reason = moonlight + pond

I’m not sure whether they’re finished or not, or whether, if finished, they’re keepers or not.
.

Posted in Autobiographica, David Riesman, From My Poetry Workshop, Knowlecular Psychology, Mathematical Poetry Specimen, Temperaments | No Comments »

Entry 372 — Mathemaku Still in Progress « POETICKS

Entry 372 — Mathemaku Still in Progress

If I ever come to be seen worth wide critical attention as a poet, I should be easy to write about, locked into so few flourishes as I am, such as “the the” and–now in this piece, Basho’s “old pond.” I was wondering whether I should go with “the bookshop’s mood or “a bookshop’s mood” when Basho struck. I love it!

Just one word and a trivial re-arrangement of words, but I consider it major. (At times like this I truly truly don’t care that how much less the world’s opinion of my work is than mine.)

We must add another allusion to my technalysis of this poem, describing it as solidifying the poem’s unifying principal (and archetypality), Basho’s “old pond” being, for one thing, a juxtaphor for eternity. Strengthening its haiku-tone, as well. But mainly (I hope) making the mood presented (and the mood built) a pond. Water, quietude, sounds of nature . . .

Oh, “old” gives the poem another euphony/assonance, too.

It also now has a bit of ornamental pond-color. Although the letters of the sub-dividend product are a much lighter gray on my other computer than they are on this one, the one I use to view my blog.

This entry was posted on Tuesday, February 8th, 2011 at 12:00 AM and is filed under Basho, Mathematical Poetry Specimen, Pluraphrase, Poetics, Wallace Stevens. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.

2 Responses to “Entry 372 — Mathemaku Still in Progress”

Kevin Kelly says:

6 March 11 at 8:31 PM

I really like this one; it strikes me as very E.E. Cummings-inspired, and I love that guy. I think the use of gray is a good idea because it gives the “remainder” more punch at the end. I’m a bit confused on reading your description in which you keep talking about Basho’s pond, which I don’t see in evidence here … I’m thinking if I had seen an earlier version of this, or I was better versed in the Grummanverse, I would understand that. And finally, you won’t have to struggle between “the” or “a” bookshop’s mood soon, where there’s just one bookshop left. Just had to end that with a little (sad) humor!
Bob Grumman says:

6 March 11 at 9:20 PM

Oh, boy, I get to explain! Nothing I love more. Basho comes in because of his famousest poem, which I’ve made versions of and written about a lot, the one that has the “old pond” a frog splashes into. My poem has an “old bookshop” that has a mood with depths a street enters like (I think) the pond’s water with depths the frog enters. But now that you bring it up, I guess the allusion is pretty hermetic.

Glad you like it. I still do now that I’m looking at it again–although it strikes me as pretty weird.

Entry 155 — Latest News & a New Version of a Poem « POETICKS

Entry 155 — Latest News & a New Version of a Poem

I find it amazing how badly I’m keeping my blog going. I will be worse at it over the next two weeks or so because I’ll be out of town. I’m leaving this afternoon for New York City, where I’ll spend a day or two with friends, then head for Connecticut to spend days with siblings. Eventually I’m to be at the Bowery Poetry Club for some sort of reading from 2 P.M. until 3:30 P.M. on Saturday, 10 July. The subject will be mathematical poetry.

Now for an update of the poem I have, or will have, on the wall of mathematics-related art that is now at the Bowery Poetry Club as part of the month-long event the reading I will participate in will wrap up:

I owe this version to Connie Tettenborn: her comment about my original version that its dividend, “mathematics,” ought to be switched with its quotient, “Spring,” didn’t make sense to me–but it did make me vaguely realize that I was claiming that arithmetic was of greater value than Spring, and that ain’t nothin’ of greater value than Spring. When Connie explicitly made that same point, I recognized that I had to do something, but took a day to come up with the solution above. I know think this may be one of my better poems instead of something I quickly made with a goal of being accessible. And I’ve always like the device of showing a correction.

This entry was posted on Wednesday, June 30th, 2010 at 12:00 AM and is filed under Bob Grumman, Connie Tettenborn, Mathematical Poetry Specimen. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.

Entry 1121 — An Improvement « POETICKS

Entry 1121 — An Improvement

When I happened to see my blog entry two before this one, I noticed I’d forgotten to finish my poem’s dividend-shed. After I did that, I reformatted the dividend to have it going off the edge of the page, like the ellipsis. This little trope has long been a favorite of mine–maybe it’s now a mannerism, but I refuse to stop using it.

Silver Jewelry

This entry was posted on Saturday, June 15th, 2013 at 12:00 AM and is filed under From My Poetry Workshop, Mathematical Poetry Specimen. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.

2 Responses to “Entry 1121 — An Improvement”

karl kempton says:

15 June 13 at 12:56 PM

fine poem

Bob Grumman says:

15 June 13 at 2:34 PM

Thanks, Karl! Maybe I’m not nuts for liking it myself.

POETICKS

Category: Mathematical Poetry Specimen