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Foreword

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Hello. I’m Jacob Sam-La Rose, and here’s what you need to know: I’m a published poet; I devise and facilitate projects for schools and other institutions, emerging poets, teachers, literature professionals and other creatives; I’m a geek for web technology and productivity; and I’m pretty handy with a camera. I exist in a few different places online – this particular site serves as my lifestream, an overview of what I’ve been doing on the interwebs. The content you see here is aggregated from:

If any of the above sparks your interest, don’t be shy in saying hello (mail at jacobsamlarose dot com).

Apr 13

explore-blog: Magnificent read on what MacArthur “genius grant”…



explore-blog:

Magnificent read on what MacArthur “genius grant” recipients teach us about the creative value of staying loose

Nov 23

thegameofart: Jean-Michel Basquiat (via (1) Pinterest)



thegameofart:

t (via (1) Pinterest)

Nov 22

Writing challenge: write the poem suggested by one of the titles…



Writing challenge: write the poem suggested by one of the titles pictured here. Include another title as text within the piece.

Nov 22

“I started tinkering with field recordings yesterday. I’m using a Zoom H1 Handy Recorder with a…”

“I started tinkering with field recordings yesterday. I’m using a Zoom H1 Handy Recorder with a homemade “dead cat” windscreen. I’m also expecting some earbud microphones to do some binaural recording. There are a lot of technical details for me to learn, but I’m enjoying this opportunity to pay greater attention to the sounds around me. Photography helped me to see better (notice visual details and nuances). Working with fabrics and other materials heightened my sense of touch. Cooking and blind tastings with my family did the same for taste and smell. Now it’s time for my ears to get more attention.”

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robertogreco {tumblr} 

Love the methodology of exploring specific crafts to deepen one’s engagement with the world through each of the senses, and it’s a nice little nudge to get back to my own field-recording project…

Nov 20

PATTER (Notes & Stuff)

PATTER (Notes & Stuff):

Big fan of the meaningful use of Tumblr (and other such platforms) here. Kearney’s use of Tumblr to support the release of his most recent collection Patter is a masterclass. Observe…

Nov 18

robertogreco: “This is what the “internet of things” endgame…



robertogreco:

“This is what the “internet of things” endgame looks like.” —Jake Boxer

Everything is a poem…

Nov 17

“The mirror lets us watch the past, the slight delay as light batters our skin. If you look, do so…”

The mirror lets us watch the past,

the slight delay as light batters our skin. If you look,
do so kindly; what is there is what is gone.



- Jamison Crabtree, from ‘upturn the stones to draw out the night; flush the moon from out of the bushes;’ via (Thrush Poetry Journal)[http://www.thrushpoetryjournal.com/january-2014-jamison-crabtree.html]
Nov 16

melonpult: alonelycorneroftheuniverse: ex-oti-c: love…



melonpult:

alonelycorneroftheuniverse:

ex-oti-c:

love this

Do you mean metaphorical.

No, I actually meant metabolism architecture. It was a post-war movement in Japan which followed (among other things) this concept that the city was like a body – the roads were like blood vessels and the sounds of the city were the sounds of it breathing, you know, that kind of thing. The idea was that it was alive.

There were some really cool futuristic buildings that came out of it. 

Have a wiki link.

WRITING PROMPT: Consider the city (Your city? A city you’ve known?) as a living, breathing entity. You are dwarfed by it, and yet it knows you, like an absent but largely benevolent deity. What does your prayer-song for your city sound like? How has it blessed you? How has it punished you? How keen are you to remain within its embrace? How eager are you to break its gravity? What hold does(/will) it still have on you, even if you leave it behind?

Nov 15

“Project books can explore things differently, move differently, interact with readers differently. I…”

“Project books can explore things differently, move differently, interact with readers differently. I think different is important to the innovation and evolution of poetry. Yes, some people won’t write them well. But some people will. And I will never underestimate poetry or the poets who take risks.”

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Sarah Blake on Mr. West, via The Cloudy House

For those of you working on book-length poetry “projects”.

Nov 14

“The list emerges from Sontag’s diaries as the author’s signature form. And it’s a strange form at…”

“The list emerges from Sontag’s diaries as the author’s signature form. And it’s a strange form at that: the list is a potentially infinite structure made up of distilled, often epigrammatic parts. It’s a form that expands and contracts to meet the needs of its author; it may be brief or expansive, important or ephemeral, and, in Sontag’s hands, it takes on many roles: an argument or an organizer, an aide-mémoire or a way of conferring value. The result of her “compulsion” not just to inventory but to reduce the world to a collection of scrutable parts, the list, Sontag’s archive makes clear, is always unstable, always ready to be added to or subtracted from. The list is a form of flux.”

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Susan Sontag famously believed that lists confer value and affirm our existence. A decade after her death, as her digital archive is being made accessible to scholars and fans, the LA Review of Books examines the repercussions in a beautiful essay:

All archival labor negotiates the twin responsibilities of preservation and access.

[…]

Sontag is — serendipitously, it seems — an ideal subject for exploring the new horizon of the born-digital archive, for the tension between preservation and flux that the electronic archive renders visible is anticipated in Sontag’s own writing. Any Sontag lover knows that the author was an inveterate list-maker. 

[…]

Reading Sontag’s lists in their original e-environment brings the issues of the digital archive — with its constant push-and-pull between proliferation and deep freeze — to the surface.

[…]

We cannot see when and where Sontag added to a list, or when or where she deleted from it. There are no cross-outs, no carets, no smudges. Certain kinds of traces, familiar in more traditional archives, are absent from the digital environment.

[…]

Listing and searching both provide us with ways, however flawed, to cut through redundancy, to make meaning out of chaos, to, in Sontag’s vocabulary, confer and create “value,” even “existence.” This impulse to list, to search, or, in other words, to reduce — an impulse researchers necessarily share with Sontag herself — takes on a peculiar resonance in the context of the guarded writer’s archive

Full piece here. Complement with Sontag’s lists of likes and dislikes, illustrated

(via explore-blog)

Nov 12

Photo



Nov 10

“I try to keep the process of writing a poem low-stakes as much as I can—I try to recognize my work…”

“I try to keep the process of writing a poem low-stakes as much as I can—I try to recognize my work within the broader scope of my life and the life of the universe, which sounds hokey, but is true. The stars and the sun make writing easier—if I don’t write a poem today, does anything suffer? No, assuredly not. The sky is still there, the ground is still there, the birds still know intuitively exactly when to strike up the band. Things remain well underway. So, writing for me is a way to recognize the larger conditions of things, and my place therein, and in this thinking writing a poem is inherently a moment of joy.”

- Q&A with Eryn Green, the 2013 Winner of Yale Series of Younger Poets - Yale Press Log
Nov 10

Photo



Nov 9

“There is a vitality, a life force, an energy, a quickening that is translated through you into…”

“There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open.”

- Martha Graham on the Hidden Danger of Comparing Yourself to Others | James Clear
Nov 9

One day, we had a family photoshoot…













One day, we had a family photoshoot…

Nov 8

A Map of the Border Between Nebraska and Iowa at Carter Lake (by…



A Map of the Border Between Nebraska and Iowa at Carter Lake (by amproehl)

WRITING PROMPT: write a poem inspired by one of the images in the collection “Maps of Strange Borders”.

Nov 8

“Try to meet a poem on its terms not yours. If you have to “relate” to a poem in order to understand…”

“Try to meet a poem on its terms not yours. If you have to “relate” to a poem in order to understand it, you aren’t reading it sufficiently. In other words, don’t try to fit the poem into your life. Try to see what world the poem creates. Then, if you are lucky, its world will help you re-see your own.”

- Reading a Poem: 20 Strategies - The Atlantic
Nov 7

“I always think about synthesis. Putting things together. Placement. Fitting. This is ‘thinking like…”

  1. I always think about synthesis. Putting things together. Placement. Fitting. This is ‘thinking like a writer’ to me.


- This Modern Writer: 100 Facts About Brian Oliu (by Brian Oliu, of course) | [PANK]
Nov 6

New form: reminder for the gogyohshi-ku and the specular…



New form: reminder for the gogyohshi-ku and the specular gogyohshi-ku. This specular gogyohshi-ku is mirrored in structure, not necessarily in content— i.e. you don’t strictly have to reverse the lines (though extra points if you do). Note: in the specular, the form begins with a reverse gogyohshi-ku, in order to begin and end with haiku.

Oct 28

“I remember that the writing of these poems was driven by some kind of dynamic source—intellectual,…”

“I remember that the writing of these poems was driven by some kind of dynamic source—intellectual, emotional, physical. If I remember that, it animates the poems, even the quieter ones. Going to hear a reader read a poem is simply not the same thing as reading it yourself. So as a poet giving a reading, I see no point in being absent from the work while presenting it live (reading in Times New Roman, I call it). That’s what the book is for. That does not mean that you have to shout, switch accents, and sing (though that’s often an honest part of the composition for me and many others)—but I think being present is necessary and audiences can tell, even when your version of present is to read without much affect.”

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Douglas Kearney Raps, Scats, and Grows Beautiful, Thorny Horns | Poets and Writers

Note: Kearney studies “comedians to work out timing, cringe humor, and audience interaction.”

Oct 27