Let us take “collaboration” to mean a) physical/active/real time work with your peers, and b) the work or contribution the “audience” or “readership” puts in to that which you and your peers have created. You don’t know who (b) consists of, but you want the words on the page to move. That is, you strive for “motion on the page” in a poem, or a piece of text. Thus, a performance of this text, among other possible things, could be the reader(s) making the poem move - by the eyes scanning this way and that, by the work being read aloud, by the work being read aloud by multiple persons or in multiple ways, depending on how one reads the words on the page. How do you get the poem or piece of text and/or the person who is reading the poem or piece of text to move in, say new or potentially unfamiliar ways? In what way does a recipe (like, for cooking something) relate to this question?
For this week: write a very 1-2 page max. “response” to the questions above (due by Saturday). Email them to David by Saturday.
For this week: read the links below (due this Wednesday):
http://www.poetryfoundation.org/archive/poem.html?id=175675 -George Oppen, “Image of the Engine”
http://epc.buffalo.edu/authors/coolidge/space.html – Clark Coolidge, from “Space”
http://wings.buffalo.edu/epc/ezines/passages/passages5/the.html – Larry Eigner, excerpt
http://www.altx.com/thebody/ – Shelly Jackson, My Body (it’s a book, but with hypertext, so play with it – I don’t expect you to read even close to every word, but get the idea, read it all when you can)
We’ll read and work with Mallarme, arguably one of the earliest to complicate the ideas about text and motion, on Saturday. Feel free to look ahead of time:
http://www.poetryintranslation.com/PITBR/French/MallarmeUnCoupdeDes.htm#_Toc160699751