ELO Sonnet

  • Published on

  • View

  • Download

Embed Size (px)


<p> 1. HJ BurgessUMBC/NC State@polyrhetorFOURTEEN RECIPES FORA SONNET 2. EXPRESSIVE OBJECTS . . . we r e e n te r in g a t ime wh e n s o u n d , l i g h t a n d moveme n t a r eequally impor tant par ts of the creative palette. Everydayobjects whose expressive elements have long been static wi l lnow glow, sing, vibrate and change position at the drop of ah a t . (NY T, C a r l a Di a n a , Ta lki n g , Wa l kin g Ob j e c t s, J a n . 2 6 2 01 3 .) Di g it al l i te rac y me a ns not rote l e a rni ng b u t ex p er imentat io n,process, creativity, not just technology but multimediaimagination, expressionand principles too. - Cathy Davidson 3. THE STARTING QUESTIONWhat does apoem do in aprogrammingage?Can we bui lda poem usingcomputingprinciples?Do we need toinvolve acomputer?or 4. PROCEDURAL OBJECTS P ro c e d ur al l i te ra cy: e n t a ils the abi lity to reconfigure basicconcepts and rules to understand and solve problems, not juston the computer, but in general. p ro c e d ural rh eto r ic : a type of rhetoric tied to the coreaf fordances of computers: running processes and executingrule-based symbol ic ma ni p ulat io n. Ian Bogost , Procedural Literacy; intro to Persuasive Games 5. MACHINES AND POEMS To ma ke two b o l d s t a teme n t s: T h e re 's n ot h i n g s e n t ime n t alabout a machine, and: A poem is a small (or large) machinemade out of words. When I say there's nothing sentimentalabout a poem, I mean that there can be no par t that isr e d u n dan t . Prose may carry a load of i l l -defined matter l ike a ship. Butpoetry is a machine which drives it, pruned to a per fecteconomy. As in al l machines, its movement is intrinsic,undulant, a physical more than a literary character . (Wi lliam Carlos Wi l liams) 6. LOOKING AT/LOOKING THROUGH A p o em may b e a ma c h in e , b u t i t s e a s y to g e t d i s t r ac te d bymeaning and not see the mechanisms working on usunderneath. Students of ten resist looking at the formal attributes ofpoetry, preferring to stick with more fami l iar representationalaspects: imagery, metaphor, emotional resonance. Pe o ple l o o k fo r me s s ag e s i n p o ems ; c e r t a in ly mo s t o f mys t u d ent s d o , no ma t ter h ow mu c h I t r y to d i s c o u r age t h em. Piotr Gwiazda Students are easi ly flummoxed by the economy of a poem,preferring free expression to af fordances and constraints. 7. THE PLAN: USE A POEM TO BETTERUNDERSTAND DIGITAL CONCEPTS a n d u s e digital l iteracy to better understand themechanisms of a poem. Try working with a some key digital concepts that l iteraturestudents tend to avoid (of ten on purpose) : Encoding: writing is a code, not a conveyor of transparentmeaning Algorithm: understanding a poem as programmatic, i .e.constructed according to a set of procedures 8. SONNET SEQUENCE: TRANSLATION &amp;PROCEDURAL RHETORICA four-par t assignment sequence in which a Shakespeareansonnet is reinterpreted in various forms according to theprompt:1) Visual imagery2) Sonnet structure &amp; scansion3) Encoding and decoding with a key4) A k i t fo r a s s embling a ve r s io n o f t h e s o nnet wi t h aprogram, recipe or other kind of instructional document. 9. SONNET #14Q1 NOT from the stars do I my judgment pluck,And yet methinks I have astronomy;But not to tel l of good or evi l luck,Of plagues, of dear ths, or seasons' qual i ty;Q2 NOR can I for tune to brief minutes tel l ,Pointing to each his thunder, rain, and wind,Or say wi th princes i f i t shal l go wel lBy of t predict that I in heaven find.Q3, volta BUT from thine eyes my knowledge I derive,And, constant stars, in them I read such ar tAs truth and beauty shal l together thriveIf from thysel f to store thou wouldst conver t:couplet OR else of thee this I prognosticate,Thy end is truth's and beauty's doom and date. 10. SONNET CONSTRUCTION IS HAPPENINGHERE. 11. EXERCISE ONE: IMAGERY ANDDIMENSIONALITY. Key c o nc e p t: d imens io ns. In this context, dimensions are qual ities that can be used tostructure a piece of information. (Concept from Edward Tuf te) Dimensions could include anything that can be quanti fied org ro u p e d, fo r example , d u r at io n , d i st an c e , we at h e r, v i s io n. A dimension is useful for identifying structure and pattern inpoems fo r exampl e, t h e p rimar y d ime ns io n wo u l d b ea n a l o g o u s to t h e c o n c e p tual me t a ph o r t h a t h e l ps s t r u c t ur ethe poem. Students identified and came up with sample visualrepresentations for each dimension (e.g. clock=time,eye=vision), and then created an object that expressed thepoem in some way. 12. #1: IMAGERY.THE PLANETS ALIGN. 13. #1: IMAGERY. ALTERNATE FORTUNESINSIDE A CREEPY FACE BOX. 14. EXERCISE TWO: STRUCTURE ANDSCANSION. Go through the project l ine-by- line, and come up with anobject made of precisely 14 par ts, that shows how the poemis structured. Could represent the rhyme scheme, or other features ofgrammar or scansion ( leads to a discussion of what a unit is,&amp; how one might measure or represent it) . Designed to show how a sonnet is constructed as a form,irrespective of its par ticular content/message. . But at the same time, to show how that content might beintegrated into the structure (e.g. where is the volta, and whati s t h e t u r n i n t h e me a n i n g o f t h e p o em?) 15. #2: STRUCTURE. MOLECULARSHAKESPEARE. 16. #2: STRUCTURE. RHYME SCHEME. 17. #2 STRUCTURE: PARTS OF SPEECH. 18. #2: STRUCTURE: IAMBS &amp; QUATRAINS. 19. EXERCISE 3: ENCODE/DECODE Key concepts: encoding schema, lossy/lossless A schema: a set of rules or agreed-upon language that is usedto encode a piece of text Lossy &amp; lossless: Are you going to encode the whole poem, orjust key par ts of it? The assignment: choose an encoding schema, use it totranslate the poem into another format, and then provide a d e c o de r. The encoding could be of the structure of the poem (iequatrains, iambs etc) or of the words themselves 20. #3: LOSSY ENCODING. STRING. 21. #3: LOSSLESS ENCODING.COLOR-CODED BRAILLE. 22. #3: ENCODING.POSTAL CODE LETTER POEM. 23. EXERCISE 4: ALGORITHM C r e a te a p ro g ram t h a t wi l l b u i ld t h e p o em wh e n exe c ute d . T h e p ro g r am i s ex p l ain e d a s a k i n d o f r e c ipe , wh i c h h a s t h ebenefit of several key computing concepts: Procedure: series of instructions Function (smal l procedure that can be repeated over whenneeded) (maybe, stretching the analogy a bit) : objects, smal lp r e a ss emble d i n g r e die n t s t h a t c a n b e c omb i n e d 24. #4: ALGORITHM. SONNET BURGER. 25. #4: ALGORITHM. JENGA TOWER. 26. (VOLTA): IS THIS ELECTRONICLITERATURE OR NOT? 27. HOLDING THE LIGHT T h i s c o nfe r enc e s c a l l wa s a b o u t h o l d ing t h e l i g h t o felectronic l iterature, and brings up a number of questions: Wh a t s e l e c t ro n i c l i te r atur e a nyway ? Is it necessarily beholden to a computer? I f n ot , wh a t ma ke s i t d i f fe r e n t f rom n o n- e l e c tro n i c l i te r atur e ( i f there is such a thing)? S h o u l d we b e h o l din g t h e l i g h t a n d d r awi n g c l e a r b o u n d a r ie sa ro u n d wh a t we c o n s i d e r e l e c t ro n i c? Wh a t h a p p e n s wh e n e l e c t ro n i c i s i n te g ra te d i n to u s a n d o u renvironment, so that we are no longer working with screensand input devices? Wi ll it sti l l be electronic l iterature, or justl iterature? </p>