Gene Fowler talks about Haiku and Victoria (a mac voice)
Stephen,
Yup, faskinating...! You see, there are people out there, in unexpected niches and ponds, at least tip-toeing into bein' source...eror's apprentices, unable, finally, to suppress curiosity and unsupervised exploration into ...well, realms full of blinding light and great darkness. What kills cats, humans should be able to dare.
You know, Airchinigh is feeding his poem to this roboreader, Victoria, and it's a bit like Barton feeding Shakespeare's lingua pura (actually, it was John Milton's blank verse that got the name because Vatican scholars disdained to learn English and so Galileo, with Milton's assistance, could pt clues to finding the path to Illuminati gatherings in writings while under house arrest) to actors who had to relay it to listeners, forcing them to listen. And there's my recently "split" listening reader, trying to force the reader to read it, subvocalizing actively, to him- or herself and doing the things an actor, or a musician-actor, which the speakers of lingua pura (that's a Latin name, of course), the "pure" language, does.
To limit oneself;
Self expressing in Haiku,
Is Soul threat-ening.
The semi-colon is, he says, a cut, but the comma must be to keep the second and third lines from being run on (in the voice), so it must take the comma too and I'd guess it wouldn't, so it'd be better to not have it. For a reader from the page it violates the sense. He's finding the problem of using punctuation for voice-cues rather than as sense-cues also marked through punctuation. As a programmer, I'd say he needs a mark-up language to handle something like this. Those marks would be by-passed by somebody reading the text from the page - maybe reading along with the listened to roboReader. A kind of special html, or even the same one. Use the
tag.
Here, the semi-colon works okay - except it's ugly. And a reader has to sort out that it isn't, here, a semi-colon at all. The comma is worse in that there's no need for a breath-taking and so it just violates sense. Over all, do you threaten yourself to impose limits? Oh, the "threat...ening" gets the breath, and it's a hidden
like the one of Frost's that I just deftly removed.
To limit oneself
Self expressing in Haiku
Is Soul threat
ening
Victoria is likely to be very confused. You see, I've pulled all of the marks. The period to tell Victoria, I guess, the sentence, with or without sentience, is ...over. His poem is verbal and there's no perception or cognition, no experience in it. It's, mainly, not even true. No telling why the first line goes with the other two or three. He made a good run at forcing Victoria with what she's got. You do want a voiced break after line 2 while you have a sense run-on. You get a little suspense, a little of the voice held "up". ...while you wait for to see what this is or does or fetches. and a break after "threat" works, because you get a noun phrase, "soul threat", and then the verb's motion. The larger sense of it, though, is ...well, weird.
Most on MOAPG and elsewhere at least see line ends and starts, if they don't really think about a line-break being there. Remember in MOAPG discussions somebody actually said that poems had shorter lines than prose - meaning they stopped short of the right margin, prose being assumed to have lines that went to the margin. But the margin does not cut lines except on the page. The actual term for what those lines do is "wrap around". Give a poem, you probably wrap it on purpose ...but it really isn't a wrap, it's an end. There's a start after that. But, of course, a run-on (like a wrap) sometimes. The start may be "moved". Lines are cut and placed. The simplest place-pattern is a stack.
...your mother plays, and I
play too...
A father to a son too young to know what dad's talking about. The sense runs on. But, not just a pause after I, unmarked, but whole voice shifts of a complex sort because the speaker is talking about being cuckolded. But, there are varied playings (to borrow the word) possible as actors find their own characters to speak this speech, trippingly from the tongue.
It's not only among our poets. I trust all of you have handled, or at least seen pictures of a tetrahedron. Four faces and triangles all joined across what are called "edges". Sit one face on your palm (unless it's a building, of course). now, it's like a little three-sided pyramid, the fourth side being on your palm, a base rather than a face. Okay. You've four triangular faces and four vertices or points, where three edges converge. Everything seem okay? You can visualize it and count faces, vertices and edges.
Except, you see a lie. Each triangle has three edges. Three times four is twelve. Our little palm-filler has twelve edges. These edges must be joined. You can draw a little design of four triangles in a pattern, cut it out, fold it up and weld together some edge-pairs to make your "solid" paper tetrahedron. Some edges are already welded together in the drawing before you cut it out. You must tuck under and paste tabs to join the others. We have sic joinings of edges. You think this hardly matters, that I'm nit-picking.
Well, most MOAPGers act as though we are nit-picking when we try to focus their consciousness on line-breaks, doing everything, Stephen, up to and including your putting in a poem of stacked short lines and typing in [Return] at the end of each line. You got responses to images and such in the poem and it seems nobody even saw the Returns typed in, they edited them out like spilled ink drops or something on the page as soon as they identified what one of them was.
Our "joiners" (which we call "breaks", because that's how we use them while playing) are as invisible to those around us. I got a little interest from Frost with my initial "line stacking" post. But he soon got lost back in content - dark, d a r k D A R K! The "joiner" / "separator" identity appears everywhere. On a flat Earth, you draw a triangle or trigon. You've three edges closed. You've an inside and an outside. The outside spreads out forever, shapelessly, until, if there's an edge to that, you fall off the edge. But, draw those three edges closed on a sphere and you've, essentially, drawn two triangles. One big, one small. The "edges" are where they "join". MY friend Jeff Duntemann, in an editorial in Visual Developer Magazine, pointed out that, always, edges are interfaces. So, in breaking our lines, we join them. And we've all sorts of joinings, fitting in those "feminine" syllables, raising and dropping or holding the voice, or all the other voicings we use to comodel with our listeners....
It's not just getting Victoria to read the poem, the haiku, but anybody. For instance, we c'n mark, usually on a line above the line of poetry, stresses. In lingua pura on the pentiambic frame, Shakespeare could signal his actors. Their "at home"ness with language told them of moved, elided or added stresses "in the ten". We kind of do this all the time. "Read it naturally -with some sense of the dramatic reality." Victoria won't know what you mean. I've heard that stress in the haiku is ignored, so ...do Japanese talk like robots? No stresses guarantees sleep, except, looking at that one haiku, all those "k"s, well maybe syllable to syllable is like walking on busted up sidewalk and you stay awake. In fact, how does Victoria manage stress. How even to assign natural stress, except in the dictionary, word by word. What about dual use: contract. But, the dramatic stress in normal speech? In the little bit of Shakespeare I gave above, the actor, and Barton, work it out. All that in a text rehearsal before other rehearsals. A reader doesn't know. And that's why, Barton says, people reading Shakespeare from the page usually can't make heads or tales of it. Even a try demands they go "out loud" and do some of the work an actor does, but without help. Whimbey, in Intelligence Can Be Taught (1980), says good readers subvocalize, maybe even move their lips. When the material becomes complex, they slow down, c'n be seen stressing words or syllables,
We poets don't just shorten, or break, lines. We use "white space" punctuation. Could Victoria be programmed to read white space - it's not just the blank you see on the page. It's codings. The hard-space (not collapsed by the browser), the tab (which is equivalent to spaces), the line-break, and these register line-ends and skipped lines. Victoria just ought to chomp that up - if you c'n get at her programming. She might use it in text to some extent to handle skipped lines between paragraphs. She ought to pause between paragraphs, let that structured unit sink in. Anyway, any "handling" of Airchinnigh's poem, such as getting Victoria to "read" it for listeners ought to assist him in "getting into it's natural delivery". His instincts about drafts and all are good.
One of the greatest problems in the writing of poetry is to stop the rewriting. There comes a time when the poem must be left alone forever, when it takes on its final form never again to be altered. It is precisely at this time of the release of the poem that it can be said to be finished, to be complete. It is also the time of the release of the poet from the poem.
But the poet remembers the earlier drafts and may have kept notes as well as the drafts. Here can be seen what has been changed in the process of the development of the poem. That word was replaced by this one. An entire line may have been reordered to achieve a more pleasing harmony of sound while keeping the sense invariant. Even entire verses may have been cut out from the final version.
Why should the writing of the poem end with the single final version? Are there not other nascent possibilities? Might not the poem have siblings? Might not a poem have a twin?
Why should the finished poem be static? Is there not room for the idea of the dynamic poem, of the poem that is always in a state of becoming?
Well, that's what you say you do, Stephen, every time you pick it up.... and this brings up my last "eavesdropping" piece, where I took off from your email about concrete and abstract. Concrete bein' with sensory information. Uhhhmmm. Concrete vs. abstract. I was thinking of concrete poetry popular twenty five years ago in mimeo'd poetry, 8.5" by 11". The lines wrapped to draw objects. So, the written down poem as a frozen shape. The played poem also ends up that way. What the musician wants is the single word, even syllable, "alone" in space.
in
the
hay
trough
I think I remember. No way the "in" ("inn", next time through) sounds alone, then the "the" and finally "hay", an image, now, then "trough" completing the image of the hay, but the "in" remembered, and on to the baby breathing there. We can't do that. The reader sees the whole, or the growing whole ahead of the sounded and that's good, a river-bed for the river. But, the pure sounding only for the livest listeningi reader.... Anyway, "in the" would sound fast, almost continuous, unaccented, moving us in....
Well, enough for he moment,
----- Original Message -----
From: Stephen Morse
To: Gene Fowler (w/o Cc's of one you're answering that I add above)
Sent: Sunday, January 01, 2006 7:05 AM
Subject: Re: Vertical haiku
Interesting ideas jammed in to these short thoughts. I wasn't familiar with the concept of a "cutting syllable," so I did a little researching, and discovered a fascinating essay http://crossings.tcd.ie/issues/1.2/Mac_an_Airchinnigh/
called Dynamic Poetry – Dynamic Haiku by Mícheál Mac an Airchinnigh of the Department of Computer Science at Trinity College in Dublin, Ireland.
The whole essay is fascinating and could certainly spark some interesting experiments. What is particularly interesting is the number of ways that it parallels our back channel discussions and experiments. I'm taking the liberty of quoting one "experiment that he hypothesized in which he mentions "the cutting syllable":
Equipment: Apple Macintosh iBook 2001, Apple's SimpleText editor, Apple's voice synthesis program ‘Macintalk, English’ and a range of synthetic voices of which I chose ‘Victoria, high quality’ as the most pleasing. (Of course one might prefer a different synthetic voice to achieve another effect, and indeed one may need to take the synthetic voice into account in the construction of the dynamic haiku.)
Experiment: The haiku on haiku [9] was inserted into SimpleText, and Victoria was ‘asked’ to read it aloud.
Result: I discovered that Victoria read lines 2 and 3 as if they were a single line. In order that Victoria speak the poem properly, it is important that a pausing mark be inserted at the end of the middle line. In addition, a hyphen inserted into ‘threatening’ was necessary, since Victoria was inclined to read the word as the bisyllabic word ‘threat-ning.’ Here now is the amended version of my original haiku to be read by Victoria:
To limit oneself;
Self expressing in Haiku,
Is Soul threat-ening.
I must confess that I was surprised by the results of this simple experiment. Victoria recognised the semicolon as a cutting symbol. Therefore, the syllable ‘-self;’ in ‘oneself;’ is a cutting syllable, or if one prefers ‘oneself;’ is a cutting word. To have written ‘oneself –’ in place of ‘oneself;’ would also be perfectly acceptable for Victoria. The repetition of the sound ‘self’ turns out to be particularly pleasing (at least to me). The resulting haiku sounds well.††
The use of a ‘synthetic personal voicer,’ such as Victoria, suggests new research directions for the development of dynamic haiku. In particular, it is clear that cutting syllables can be provided for English in a ‘natural’ way. New sounding units can be developed and experimented with. For example, replacing ’;’ by ‘f’ in ‘oneself;’ to give ‘oneselff’ makes ‘oneself’ strangely trisyllabic and sounds like ‘on-es-elff.’ I would never have supposed that, as a poet, ‘small modifications in written syntax’ could have such a profound change in sounding structure had I not used the synthetic personal voicer. As a mathematician this does make very good sense, as for example in perturbation theory and chaos theory, small changes in initial conditions have profound consequences. A theory of haiku partitioning may emerge as a result of methodical voice synthesiser experiments. The synthetic personal voicer may also be used to classify and rank partitions. Looking ahead along the technology trajectory into the future of voice synthesis it is obvious to me at least that there may come a time when the synthetic personal voicer will surprise us by its sounding of a poem, a sounding of which we might never have dreamt. This opens up the possibility of a new kind of oral tradition or an enriching of an existing one. Consensus on the collaborative ‘becoming poem’ or ‘poem to be’ may be based on a synthetically voiced version to which the collaborating poets have agreed. I am sure other avenues of exploration and experiment will open up as a result of adding this extra dimension of synthetic personal voicer to the proposed use of mathematics in the synthesis of dynamic haiku.
It certainly gives a new meaning to the word, "voice," of a poet. I know it's a bit off track, but it a wonderful example of how linked we all can be, and the potential for a collaborative creation in the sense of multiple takes on an idea or poem can lead to unexpected nuggets of influence.
Best,
Stephen
Yup, faskinating...! You see, there are people out there, in unexpected niches and ponds, at least tip-toeing into bein' source...eror's apprentices, unable, finally, to suppress curiosity and unsupervised exploration into ...well, realms full of blinding light and great darkness. What kills cats, humans should be able to dare.
You know, Airchinigh is feeding his poem to this roboreader, Victoria, and it's a bit like Barton feeding Shakespeare's lingua pura (actually, it was John Milton's blank verse that got the name because Vatican scholars disdained to learn English and so Galileo, with Milton's assistance, could pt clues to finding the path to Illuminati gatherings in writings while under house arrest) to actors who had to relay it to listeners, forcing them to listen. And there's my recently "split" listening reader, trying to force the reader to read it, subvocalizing actively, to him- or herself and doing the things an actor, or a musician-actor, which the speakers of lingua pura (that's a Latin name, of course), the "pure" language, does.
To limit oneself;
Self expressing in Haiku,
Is Soul threat-ening.
The semi-colon is, he says, a cut, but the comma must be to keep the second and third lines from being run on (in the voice), so it must take the comma too and I'd guess it wouldn't, so it'd be better to not have it. For a reader from the page it violates the sense. He's finding the problem of using punctuation for voice-cues rather than as sense-cues also marked through punctuation. As a programmer, I'd say he needs a mark-up language to handle something like this. Those marks would be by-passed by somebody reading the text from the page - maybe reading along with the listened to roboReader. A kind of special html, or even the same one. Use the
tag.
Here, the semi-colon works okay - except it's ugly. And a reader has to sort out that it isn't, here, a semi-colon at all. The comma is worse in that there's no need for a breath-taking and so it just violates sense. Over all, do you threaten yourself to impose limits? Oh, the "threat...ening" gets the breath, and it's a hidden
like the one of Frost's that I just deftly removed.
To limit oneself
Self expressing in Haiku
Is Soul threat
ening
Victoria is likely to be very confused. You see, I've pulled all of the marks. The period to tell Victoria, I guess, the sentence, with or without sentience, is ...over. His poem is verbal and there's no perception or cognition, no experience in it. It's, mainly, not even true. No telling why the first line goes with the other two or three. He made a good run at forcing Victoria with what she's got. You do want a voiced break after line 2 while you have a sense run-on. You get a little suspense, a little of the voice held "up". ...while you wait for to see what this is or does or fetches. and a break after "threat" works, because you get a noun phrase, "soul threat", and then the verb's motion. The larger sense of it, though, is ...well, weird.
Most on MOAPG and elsewhere at least see line ends and starts, if they don't really think about a line-break being there. Remember in MOAPG discussions somebody actually said that poems had shorter lines than prose - meaning they stopped short of the right margin, prose being assumed to have lines that went to the margin. But the margin does not cut lines except on the page. The actual term for what those lines do is "wrap around". Give a poem, you probably wrap it on purpose ...but it really isn't a wrap, it's an end. There's a start after that. But, of course, a run-on (like a wrap) sometimes. The start may be "moved". Lines are cut and placed. The simplest place-pattern is a stack.
...your mother plays, and I
play too...
A father to a son too young to know what dad's talking about. The sense runs on. But, not just a pause after I, unmarked, but whole voice shifts of a complex sort because the speaker is talking about being cuckolded. But, there are varied playings (to borrow the word) possible as actors find their own characters to speak this speech, trippingly from the tongue.
It's not only among our poets. I trust all of you have handled, or at least seen pictures of a tetrahedron. Four faces and triangles all joined across what are called "edges". Sit one face on your palm (unless it's a building, of course). now, it's like a little three-sided pyramid, the fourth side being on your palm, a base rather than a face. Okay. You've four triangular faces and four vertices or points, where three edges converge. Everything seem okay? You can visualize it and count faces, vertices and edges.
Except, you see a lie. Each triangle has three edges. Three times four is twelve. Our little palm-filler has twelve edges. These edges must be joined. You can draw a little design of four triangles in a pattern, cut it out, fold it up and weld together some edge-pairs to make your "solid" paper tetrahedron. Some edges are already welded together in the drawing before you cut it out. You must tuck under and paste tabs to join the others. We have sic joinings of edges. You think this hardly matters, that I'm nit-picking.
Well, most MOAPGers act as though we are nit-picking when we try to focus their consciousness on line-breaks, doing everything, Stephen, up to and including your putting in a poem of stacked short lines and typing in [Return] at the end of each line. You got responses to images and such in the poem and it seems nobody even saw the Returns typed in, they edited them out like spilled ink drops or something on the page as soon as they identified what one of them was.
Our "joiners" (which we call "breaks", because that's how we use them while playing) are as invisible to those around us. I got a little interest from Frost with my initial "line stacking" post. But he soon got lost back in content - dark, d a r k D A R K! The "joiner" / "separator" identity appears everywhere. On a flat Earth, you draw a triangle or trigon. You've three edges closed. You've an inside and an outside. The outside spreads out forever, shapelessly, until, if there's an edge to that, you fall off the edge. But, draw those three edges closed on a sphere and you've, essentially, drawn two triangles. One big, one small. The "edges" are where they "join". MY friend Jeff Duntemann, in an editorial in Visual Developer Magazine, pointed out that, always, edges are interfaces. So, in breaking our lines, we join them. And we've all sorts of joinings, fitting in those "feminine" syllables, raising and dropping or holding the voice, or all the other voicings we use to comodel with our listeners....
It's not just getting Victoria to read the poem, the haiku, but anybody. For instance, we c'n mark, usually on a line above the line of poetry, stresses. In lingua pura on the pentiambic frame, Shakespeare could signal his actors. Their "at home"ness with language told them of moved, elided or added stresses "in the ten". We kind of do this all the time. "Read it naturally -with some sense of the dramatic reality." Victoria won't know what you mean. I've heard that stress in the haiku is ignored, so ...do Japanese talk like robots? No stresses guarantees sleep, except, looking at that one haiku, all those "k"s, well maybe syllable to syllable is like walking on busted up sidewalk and you stay awake. In fact, how does Victoria manage stress. How even to assign natural stress, except in the dictionary, word by word. What about dual use: contract. But, the dramatic stress in normal speech? In the little bit of Shakespeare I gave above, the actor, and Barton, work it out. All that in a text rehearsal before other rehearsals. A reader doesn't know. And that's why, Barton says, people reading Shakespeare from the page usually can't make heads or tales of it. Even a try demands they go "out loud" and do some of the work an actor does, but without help. Whimbey, in Intelligence Can Be Taught (1980), says good readers subvocalize, maybe even move their lips. When the material becomes complex, they slow down, c'n be seen stressing words or syllables,
We poets don't just shorten, or break, lines. We use "white space" punctuation. Could Victoria be programmed to read white space - it's not just the blank you see on the page. It's codings. The hard-space (not collapsed by the browser), the tab (which is equivalent to spaces), the line-break, and these register line-ends and skipped lines. Victoria just ought to chomp that up - if you c'n get at her programming. She might use it in text to some extent to handle skipped lines between paragraphs. She ought to pause between paragraphs, let that structured unit sink in. Anyway, any "handling" of Airchinnigh's poem, such as getting Victoria to "read" it for listeners ought to assist him in "getting into it's natural delivery". His instincts about drafts and all are good.
One of the greatest problems in the writing of poetry is to stop the rewriting. There comes a time when the poem must be left alone forever, when it takes on its final form never again to be altered. It is precisely at this time of the release of the poem that it can be said to be finished, to be complete. It is also the time of the release of the poet from the poem.
But the poet remembers the earlier drafts and may have kept notes as well as the drafts. Here can be seen what has been changed in the process of the development of the poem. That word was replaced by this one. An entire line may have been reordered to achieve a more pleasing harmony of sound while keeping the sense invariant. Even entire verses may have been cut out from the final version.
Why should the writing of the poem end with the single final version? Are there not other nascent possibilities? Might not the poem have siblings? Might not a poem have a twin?
Why should the finished poem be static? Is there not room for the idea of the dynamic poem, of the poem that is always in a state of becoming?
Well, that's what you say you do, Stephen, every time you pick it up.... and this brings up my last "eavesdropping" piece, where I took off from your email about concrete and abstract. Concrete bein' with sensory information. Uhhhmmm. Concrete vs. abstract. I was thinking of concrete poetry popular twenty five years ago in mimeo'd poetry, 8.5" by 11". The lines wrapped to draw objects. So, the written down poem as a frozen shape. The played poem also ends up that way. What the musician wants is the single word, even syllable, "alone" in space.
in
the
hay
trough
I think I remember. No way the "in" ("inn", next time through) sounds alone, then the "the" and finally "hay", an image, now, then "trough" completing the image of the hay, but the "in" remembered, and on to the baby breathing there. We can't do that. The reader sees the whole, or the growing whole ahead of the sounded and that's good, a river-bed for the river. But, the pure sounding only for the livest listeningi reader.... Anyway, "in the" would sound fast, almost continuous, unaccented, moving us in....
Well, enough for he moment,
----- Original Message -----
From: Stephen Morse
To: Gene Fowler (w/o Cc's of one you're answering that I add above)
Sent: Sunday, January 01, 2006 7:05 AM
Subject: Re: Vertical haiku
Interesting ideas jammed in to these short thoughts. I wasn't familiar with the concept of a "cutting syllable," so I did a little researching, and discovered a fascinating essay http://crossings.tcd.ie/issues/1.2/Mac_an_Airchinnigh/
called Dynamic Poetry – Dynamic Haiku by Mícheál Mac an Airchinnigh of the Department of Computer Science at Trinity College in Dublin, Ireland.
The whole essay is fascinating and could certainly spark some interesting experiments. What is particularly interesting is the number of ways that it parallels our back channel discussions and experiments. I'm taking the liberty of quoting one "experiment that he hypothesized in which he mentions "the cutting syllable":
Equipment: Apple Macintosh iBook 2001, Apple's SimpleText editor, Apple's voice synthesis program ‘Macintalk, English’ and a range of synthetic voices of which I chose ‘Victoria, high quality’ as the most pleasing. (Of course one might prefer a different synthetic voice to achieve another effect, and indeed one may need to take the synthetic voice into account in the construction of the dynamic haiku.)
Experiment: The haiku on haiku [9] was inserted into SimpleText, and Victoria was ‘asked’ to read it aloud.
Result: I discovered that Victoria read lines 2 and 3 as if they were a single line. In order that Victoria speak the poem properly, it is important that a pausing mark be inserted at the end of the middle line. In addition, a hyphen inserted into ‘threatening’ was necessary, since Victoria was inclined to read the word as the bisyllabic word ‘threat-ning.’ Here now is the amended version of my original haiku to be read by Victoria:
To limit oneself;
Self expressing in Haiku,
Is Soul threat-ening.
I must confess that I was surprised by the results of this simple experiment. Victoria recognised the semicolon as a cutting symbol. Therefore, the syllable ‘-self;’ in ‘oneself;’ is a cutting syllable, or if one prefers ‘oneself;’ is a cutting word. To have written ‘oneself –’ in place of ‘oneself;’ would also be perfectly acceptable for Victoria. The repetition of the sound ‘self’ turns out to be particularly pleasing (at least to me). The resulting haiku sounds well.††
The use of a ‘synthetic personal voicer,’ such as Victoria, suggests new research directions for the development of dynamic haiku. In particular, it is clear that cutting syllables can be provided for English in a ‘natural’ way. New sounding units can be developed and experimented with. For example, replacing ’;’ by ‘f’ in ‘oneself;’ to give ‘oneselff’ makes ‘oneself’ strangely trisyllabic and sounds like ‘on-es-elff.’ I would never have supposed that, as a poet, ‘small modifications in written syntax’ could have such a profound change in sounding structure had I not used the synthetic personal voicer. As a mathematician this does make very good sense, as for example in perturbation theory and chaos theory, small changes in initial conditions have profound consequences. A theory of haiku partitioning may emerge as a result of methodical voice synthesiser experiments. The synthetic personal voicer may also be used to classify and rank partitions. Looking ahead along the technology trajectory into the future of voice synthesis it is obvious to me at least that there may come a time when the synthetic personal voicer will surprise us by its sounding of a poem, a sounding of which we might never have dreamt. This opens up the possibility of a new kind of oral tradition or an enriching of an existing one. Consensus on the collaborative ‘becoming poem’ or ‘poem to be’ may be based on a synthetically voiced version to which the collaborating poets have agreed. I am sure other avenues of exploration and experiment will open up as a result of adding this extra dimension of synthetic personal voicer to the proposed use of mathematics in the synthesis of dynamic haiku.
It certainly gives a new meaning to the word, "voice," of a poet. I know it's a bit off track, but it a wonderful example of how linked we all can be, and the potential for a collaborative creation in the sense of multiple takes on an idea or poem can lead to unexpected nuggets of influence.
Best,
Stephen
posted by Stephen Morse at 10:13 PM
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