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“If you’ve ever pondered what trees think about life’s major issues, the city of Melbourne has come…”

If you’ve ever pondered what trees think about life’s major issues, the city of Melbourne has come up with an elegant solution – you can email them and find out.

The city council has devised an interactive urban forest map that provides individual data on each of the 70,000 trees that line the streets and parks of central Melbourne.

Each tree is assigned an identification number, which allows you to email it. Ostensibly this is to report damaged branches, but emailed expressions of tree devotion have been received from admirers



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[Melbourne’s trees bombarded with emailed love letters](http://www.theguardian.com/environment/2015/jan/29/city-of-melbourne-prepares-to-see-some-emails-lovely-as-its-trees)

This is either a poem or a workshop challenge. Possibly both. Via [Roberto Greco](http://robertogreco.tumblr.com)

Jul 13

On the road again. Running workshops at a school in Dorchester…



On the road again. Running workshops at a school in Dorchester tomorrow. I’ve promised myself the rest of the week off— no professional appointments until the weekend (Walthamstow Garden Party on Saturday, featuring Barbican Young Poets and Barbican Junior Poets). I’m planning to slow down for summer. More time for deep thinking instead of grinding from deadline to deadline, trying to keep all the juggling balls in the air. Looking forward to it. Until then, there’s this train, miles to travel, poems to tease out…

Jul 12

“I feel a thousand capacities spring up in me.”

“I feel a thousand capacities spring up in me.”

- Jennifer Niven, from All the Bright Places (via the-final-sentence)
Jul 12

explore-blog: Stop what you’re doing and watch this teenage…



explore-blog:

Stop what you’re doing and watch this teenage girl own her dad in a beatboxing battle. It’s been said that “music is the sound wave of the soul” – beatboxing surely is its pulse.

(HT Jad Abumrad)

Jul 10

“I read somewhere that our brains are wired for poetry because it is more useful to see a stick and…”

“I read somewhere that our brains are wired for poetry because it is more useful to see a stick and think snake, than see a snake and think stick. Our genes do not reward us for being nonchalant about the world around us. This is true, although sometimes it is useful to see a stick and think stick, and also to see a snake and think snake.”

- “Every Alphabet the Zoo Inside” by Emily Vizzo | Blackbird v14n1 | #features
Jul 10

Li-Young Lee on Breath

“I’ve been thinking about something for a long time, and I keep noticing that most human speech—if not all human speech—is made with the outgoing breath. This is the strange thing about presence and absence. When we breath in, our bodies are filled with nutrients and nourishment. Our blood is filled with oxygen, our skin gets flush; our bones get harder—they get compacted. Our muscles get toned and we feel very present when we’re breathing in. The problem is, that when we’re breathing in, we can’t speak. So presence and silence have something to do with each other.

The minute we start breathing out, we can talk; speech is made with the outgoing, exhaled breath. The problem that this poses, though, is that as we exhale, nutrients are leaving our bodies; our bones get softer, our muscles get flaccid, our skin starts to loosen. You could think of that as the dying breath. So as we breath out, we have less and less presence.

When we make verbal meaning, we use the dying breath. In fact, the more I say, the more my meaning is disclosed. Meaning grows in opposite ratio to presence or vitality.”

–via this interview

Via treymoody

Jul 8

Amal Osman works with me. She’s also one of the people…



Amal Osman works with me. She’s also one of the people responsible for this rather handsome collection of Sudanese literature…

Jul 7

“In my opinion, what goes on in poems should always be too complex and too interesting for complete…”

“In my opinion, what goes on in poems should always be too complex and too interesting for complete resolution. When I was in law school, my trial practice professor stressed that you should never ask a witness a question to which you don’t know the answer. Just the reverse is true in poetry. If you have an answer up your sleeve, the poem is likely to seem over-determined, too tidy.”

- An Interview with Susan Settlemyre Williams - by Kimberly L. Becker - Eclectica Magazine v13n1
Jul 7

“Do you know why teachers use me? Because I speak in tongues. I write metaphors. Every one of my…”

“Do you know why teachers use me? Because I speak in tongues. I write metaphors. Every one of my stories is a metaphor you can remember. The great religions are all metaphor. We appreciate things like Daniel and the lion’s den, and the Tower of Babel. People remember these metaphors because they are so vivid you can’t get free of them and that’s what kids like in school. They read about rocket ships and encounters in space, tales of dinosaurs. All my life I’ve been running through the fields and picking up bright objects. I turn one over and say, Yeah, there’s a story.”

- Ray Bradbury, via [Paris Review, The Art Of Fiction 203](http://www.theparisreview.org/interviews/6012/the-art-of-fiction-no-203-ray-bradbury)
Jul 6

kathleenjoy: Richard Siken



kathleenjoy:

Richard Siken

Jul 4

museumuesum: Peter Fischli and David WeissHow to Work Better,…



museumuesum:

Peter Fischli and David Weiss

How to Work Better, 1991

silkscreen on paper, framed, 20 x 27 ½ in.

Jul 3

“#job”instagram.com Via Keenan Cummings



“#job”
instagram.com

Via Keenan Cummings

Jul 3

Courage: a few wise words from Milton Glaser

“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.”

http://www.bluecanvas.com/magazine/articles/conversation-with-milton-glaser via alicekatem

Jul 2

What’s the kinetic quality of the group piece? How does it…



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?

Jul 1

Think of the group poem as a piece of music… How do you…



Think of the group poem as a piece of music… How do you script a dynamic musical movement?

Jul 1

Notes from tonight’s BYPoets workshop on devising group…



Notes from tonight’s BYPoets workshop on devising group poems…

Jul 1

Today. At @tate Modern. With @BARpoetry poets, @BYPoets and…



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.

Jun 30

“This is why Kafka said, “A book must be the axe for the frozen sea within us,” or why Shelley…”

“This is why Kafka said, “A book must be the axe for the frozen sea within us,” or why Shelley remembers “the hour which burst / My spirit’s sleep.” The fact is, our spirit has a tendency to slumber and we constantly need awakenings, which is what art does and what a liberal education focused on the humanities should do.”

- William Deresiewicz (via austinkleon)
Jun 27

“What is the value of poetry? I think that poetry, at its most crucial, helps us cope with our lives…”

“What is the value of poetry? I think that poetry, at its most crucial, helps us cope with our lives and experiences. It doesn’t so much gloss them for us as provide an act of recognition of the complexity of our lives. I think that’s important—the choice toward the complex. I think of it as a kind of handrail along the mountain—it lets the reader know that the human experience is not a wasteland—someone has been there before. I wish I believed that poetry could change the world politically, but in our current cultural climate where poetry is so devalued, I don’t see it. That’s ok—poetry survives because, like insects, poetry is both small and powerful. It can hide in the cracks. In a sense, it survives precisely because it is small and underfunded. That gives it a kind of integrity that one doesn’t see in the larger commercial world.”

- First Book Interviews: #52 - Anne Shaw
Jun 17

“I can’t help but approach science and history from the standpoint of language.  Because I’m a…”

“I can’t help but approach science and history from the standpoint of language.  Because I’m a writer, sure, but also because that’s where those things truly live.  Science can produce the greatest poetry of the age.  Even headline writing at otherwise sober institutions like phys.org take on mad poetry, just because that’s the way things are now.  Actual headline:  “Multifractals suggest the existence of an unknown physical mechanism on the Sun.”  An UNKNOWN PHYSICAL MECHANISM ON THE SUN.  Just let that sink in.  Because that bit alone is some demented Lovecraftian genius.  Which may only be topped by THIS actual headline about the NASA NuStar satellite: “NuStar captures possible ‘screams’ from zombie stars.””

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The Poetry Of Science | MORNING, COMPUTER

Now following Warren Ellis’s blog.

Jun 16