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:
- Jacobsamlarose.com (my professional face)
- Miscellany (my personal blog)
- Forthen&Evermore (my photoblog)
- Twitter (text messages to the world)
If any of the above sparks your interest, don’t be shy in saying hello (mail at jacobsamlarose dot com).
“My own definition of art is that it is a survival device, that it is a device to help the human species to survive. If it were not, it would not have persisted so long in human culture. So you ask the question, well what is it that artists do that helps the culture survive, or what can it do? And all it can do, in my judgment, is make you attentive. Art is like a meditation, which is that in the presence of art, you become more aware of what is real. And that distinction between what is illusion and what is real is a very necessary distinction in human experience…
Do your work. There isn’t anything else. I tell the story of when I studied with Giorgio Morandi in Bologna in the early 50s. He’d never talk about art. But if you took a copper plate and were about to put it in the acid and etch it without knowing what would happen, he would always say, Coraggio. Courage. And that’s what you have to have, you have to basically be willing to plunge into life and do your work.”
What’s the kinetic quality of the group piece? How does it move through its ideas/themes/images/epiphan[y/ies]? How can you conduct/score/orchestrate a dynamic in that movement?
Think of the group poem as a piece of music… How do you script a dynamic musical movement?
Notes from tonight’s BYPoets workshop on devising group poems…
Today. At @tate Modern. With @BARpoetry poets, @BYPoets and students from Corfe Hills. Writing poems in response to work contained in the building. Ekphrasis, yes. Sharing poems from 17:00 onwards. To any of the young poets I work with who might have the time— message me if you’d like to stop by, support and hear what’s produced.
- William Deresiewicz (via austinkleon)
“What is the value of poetry? I think that poetry, at its most crucial, helps us cope with our lives…”
- First Book Interviews: #52 - Anne Shaw
Now following Warren Ellis’s blog.
- Why Nobody Knows How to Make a Pencil
- The Power of Full Engagement
The email charter website is currently down. Another reminder of how impermanent the web is.
I have a “first time” email signature (telephone number, Twitter handle, website and so on), and an email signature that goes out to anyone I’ve emailed more than once. I’m of the opinion that once we’ve been in contact via email, you really don’t need to be reminded of my telephone number, website, various job titles or where you can buy my collections with every new piece of correspondence. I have a sneaking suspicion that we become blind to the information contained in email signatures anyway— the same way we learn to tune out banner ads and billboards.
My everyday signature (the one you get if we’ve already exchanged emails) used to point exclusively to the email charter. Now the charter is down, I’m redirecting to the post above. It’s not as succinct, but hopefully it’ll do a similar job. That said: the email signature blindness I referred to above dictates that only a handful of the people I interact with via email will actually notice. While I’ve been pleasantly surprised in the past by the odd individual who adopted some of the thinking suggested by the charter, or commented on what a good idea it was, or themselves went on to adopt it, I’m guessing that the facts that a) no one else in my contact list picked up on the fact that emailcharter.org is down, and b) in the couple of years for which I’ve supported the email charter, no one has actually called me out for failing any of its proposed edicts, mean that few people will notice the change.
Still, that’s no reason not to try to make my inbox a better place. Or to at least attempt to help people understand why I try to spend as little time there as possible…
Graphic study; page from a notebook (PA/NY/TO 2014)
- Can Google be taught poetry? | Technology | The Guardian
What? That time of year again? Already? ;)
- Brenda Shaughnessy
It’s official. I’m a Change Maker, as endorsed by London’s Southbank Centre. Just about to share a space with Joelle Taylor, Young Identity and Beat Freeks.
(First person to point out the errant hyphen gets a stern look.)
Of course, the foundations of this new creative economy have been in the making for a long time before this. And while there’s gold in these hills, it’s important to remember the relationship between signal vs noise. Perhaps the simple truth remains that however the models evolve, there will always be breakthrough artists (hard work + talent + good fortune + networked connections, amplifiers & enablers) and a much larger mass of other could-have-beens. Your YouTube channel, or Twitter following isn’t the glass slipper— or rather, one glass slipper does not a pair make…
“Today, the dream of the everlasting carrier seems further away than ever. Records may be lasting ok,…”
- The Quietus | Opinion | The Quietus Essay | The Utopia Of Records: Why Sound Archiving Is Important
A good editor must pick out the interesting and meaningful bits and be rather ruthless with the rest.
A good editor has to also constantly doubt him or herself, and ask these questions: are my motives clear? Am I open to sparks that don’t fit my pattern matcher for good ideas? How do I get better at recognizing sparks with promise without excluding the possibility of sparks I’ve never seen before?”
- Oh, there are hundreds of ways for an idea to die. — Medium