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Four Illustrations of Rose (Stein Poems)

July 3, 2015
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The following four poems all came from the same instance of Gnoetry 0.2, worked through repeatedly and saved as several variations. I kept certain words or parts of each line as I worked down through the poem each time, later abandoning them if they ceased to work for the emerging poems. I hope to continue making these for a while longer.

1  |  An Illustration, as in Rose on the surface

Rose was not flashy.
So she went on instinct.
The grass did not say so, anyway.
And when you lose touch with them?
Was I awake or not?
The grass looks like weakness.

The more we all know the body.
Illustration: the heart, a line.
These are the unfaithful.
So throw out your bearings.
And later, the empties.
No good will come of it.

Those who live on the surface.
It is not any comfort to sing.
These boys are brittle and gloomy.
The grass because grass is over.
Flies are infectious;
And no one here can sing.

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2  |  An Illustration, as in Rose the master

Rose was a master.
So Rose went on instinct.
The grass did not notice the bodies.
Love was not about themselves.
Why should we air our bodies?
The masters must know.

The more we all like something.
Here is a microscope.
These are the songs they bring.
So she began to sing.
And there was a big room.
How do we know to sing?

And when you go into the room.
Will you ever see anyone else?
Like some city to some animal.
The grass because grass is easy.
Names are for ourselves;
And the green plants, too.

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3  |  An Illustration, as in Rose in flames

Rose was not enough.
And she did not have more.
The grass did not have to dream or hurt.
It made her clutch the surface.
Why is life like that to you?
A good place in ruins.

The more we all learn about stuff.
Here it is best for you.
Those who dare to listen.
So Rose had a headache.
And that was one end.
The hay came down with it.

And when you are all there is.
Will you ever fall into the flame.
People learn to do things their way.
The grass because grass is better.
These are the edges;
And the others burn.

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4  |  An Illustration, as in Rose of the fragile heart

Rose began to smoke.
She never did like the clouds.
The grass does not care if people know.
Little specks of compassion.
Why do they do the right thing?
Just let them be broken.

The more you can make it better.
Is it any good for others?
They do not want to break.
So Rose would have enough.
And then just try to be.
But Rose knew how to hide.

This is a heart made of salt.
Every morning it is the same.
Get rid of values and tactics.
The grass because the grass is broken.
Rose is grown hard now;
And all their hearts as well.

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Composed with Gnoetry 0.2 and the following texts:
Woods Hutchinson, The Child’s Day
Gertrude Stein, The World Is Round
Howard R. Garis, The Curlytops at Uncle Franks Farm

Accidental, as in what the lion says (Stein Poem)

June 29, 2015
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If a lion could talk, we would not understand him.
– Ludwig Wittgenstein (tr. G.E.M. Anscombe)

She cannot be blue.  There is no blue in general.
Just try it.  So rosy and pink with yourself.
So let us think for now only of meaning.
Dear me the thing is incomprehensible!
Also maybe you are incompatible.
You should never go into long descriptions.
If you hear clearly what the lion says.
Why a lizard or a man may be plainly anxious.
And wild animals have nothing to say to you.
Your imagination full of cuts and trembling.
You are indistinguishable from it.
Just past and above it is by accident.
The definition must be accidental.
The edges of the same place cannot burn twice.

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Composed with Gnoetry 0.2 and the following texts:
Gertrude Stein, The World Is Round
Woods Hutchinson, The Child’s Day
Gertrude Stein, Corrected Stanzas in Meditation
Bertrand Russell, Mysticism and Logic and Other Essays

More Free Grass (9 “Haiku”)

June 29, 2015
by

Only text.  Have we
not stood here like trees in the
eyes of publishers?

I myself do not
drive an engine of free speech
and variety.

It cannot fail.  Code
becomes law; code extends the
control of others.

O manhood, tangled
in the administration
of democracy.

The soul as softness,
possibilities.  Can we
get service at night?

There is no escape
for you and me, but we do
not need the future.

It’s crazy to me
to believe that property
is the dream of life.

I swear I never
had any limit.  Yet there
is no need for me.

More formalities…
if you do not buy it, you
are a miracle.

=========================
Composed in collaboration with Gnoetry 0.2 and these texts:
Lawrence Lessig, Free Culture
Walt Whitman, Leaves of Grass

Careless, as in a little lonesome Rose (Stein Poem)

June 18, 2015
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After a long break, I’ve come back to the Stein Poems series, eventually to become the book same: a Stein wreader. This poem uses Stein’s book, The World Is Round, as its principal source text (weighted 50%). It is a delightful book written for children, although some find it too “difficult” for their reading level (I hate when people use this word to speak about poetry).

Anyways, enjoy.


Well well Rose is a cowboy, too.
With all the legs of little lonesome,
The stars were big and round with glasses.
Almost every school will send for a wagon,
Drawn by the time you see it.
The grass looked like measles on buckskin,
The stars were not always sold there but they still flew.
Draw a picture of its legs,
Janet said, it will stand there.
I am talking about a sick pony in school,
Or it might be called a receiver, you see.
Did you see it there was an O and animals.
Did she see it.  The hours spin away,
For he is careless in winter.
It makes Rose cry and thunder so.

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Composed with Gnoetry 0.2 and the following source texts:
Woods Hutchinson, The Child’s Day
Gertrude Stein, The World Is Round
Howard R. Garis, The Curlytops at Uncle Franks Farm

Install the Gnoetry 0.2 on Xubuntu VirtualBox Appliance

June 12, 2015
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In an effort to spread the good news of Gnoetry more easily to the masses of Mac and Windows users, I’ve taken on the project this year to prepare an alternative method of getting Gnoetry up and running with minimal obstacles. For Ubuntu or Debian users, things have been simplified now by using git to clone michel-slm’s bug-fix branch of the Gnoetry source files from GitHub, installing a few dependencies and building from the included Makefile (I’ll put together a short set of instructions for that process later this summer). For those not interested in installing Linux on their computers, there is now an alternative.

I have put together an Xubuntu virtual machine which has Gnoetry 0.2 already installed and ready to launch from an icon on the desktop. VirtualBox allows for virtual machines to be exported and shared as “appliances.” You can download the VirtualBox appliance file (2.3 GB) and the PDF installation guide from my main website, here:

Gnoetry 0.2 Virtual Appliance and User Manual

Also included is a user manual for Gnoetry 0.2. Aside from the simple installation of Oracle VirtualBox, an extension pack, and the appliance itself, the only tricky part is optimizing the virtual machine for you system. A complete guide through this process is included in the installation guide.

Test it out yourselves and let me know how it works.

Memoria

February 4, 2015
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Memoria was fabricated from two separate ‘biases’ or saved n-gram states. Pages 3 through 10 (which disclude the title page and preface) are generated from the KJV translation of the Bible. All poems thereafter are a mixture of Revelation, Daniel, Genesis, and The Best Women’s Erotica of 2001.

http://sourceforge.net/projects/infinitemonkeys616/files/Books/Memoria.zip/download

The Augmented Imagination Project

September 21, 2014

Hi all, and thanks for inviting me to join this blog.

I’ve been engaged in an ongoing computer poetry experiment I call ‘The Augmented Imagination Project’ or ‘AI Project’(!) for short. I see the project as a creative experiment open to numerous interpretations, and no more susceptible to a definitive summary than a poem. But there are some things I can say by way of introduction to the project:

In the AI project, algorithms randomly generate words, which are shown in a randomized fashion in a digital display. Alphabetical constraints can be put on the words to be generated, for example, the constraint that only words containing the letter ‘d’ are displayed. I am currently working on adding further constraints so as to limit e.g. number of syllables or rhyme-endings.

My interest in the project centers on the possibility of exploring the impact of computers on the creative process itself. Unlike most other computerised poetry generators, the AI project is not designed to produce finished poems, but to offer an interface for human-computer interaction whose promise is an enhancement or ‘augmentation’ of the poetic imagination, specifically with respect to its word-generating function.

As I argue in an essay on my website, it is possible to locate this project within a subtradition of computer poetry I call ‘computer-assisted poetry’ (as distinct from ‘computer-generated poetry’) that would include for some poetic experiments by Charles Hartman, and Ray Kurzweil’s Cybernetic Poet software.

I think of myself as having a pluralistic poetics encompassing both avant-garde and more traditional perspectives. Consequently, I have personally used the AI project to assist in writing poetry in a variety of styles, including styles that may not appear in the least computer-generated. (An example can be found here.) This neutrality between a variety of approaches to poetry and poetics is another thing that excites me about the project.

To see the program in action, and my essay ‘Seven ways of looking at the Augmented Imagination Project’ visit my website www.jonahwilberg.net.

I’ve also created a resource site for digital poetics. It’s still in its early stages, and I’d be grateful for any suggestions of links to add to it.

Thanks again. I welcome comments on the project, and will keep you posted on updates.

 

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