WEBVTT

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So this is an example of
something totally different

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than you've probably seen.

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This is Hooping: a poem.

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It's our favorite
poem by Vasko Popa.

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[VIDEO PLAYBACK]

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- Go and open the door.

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Who is this?

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- Maybe outside there's a
tree, or a wood, a garden.

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That's our bird, Bananafish,
while this is being recorded.

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- Go and open the door.

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Maybe a dog's rummaging.

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So maybe interpretive dance, but
more interpretive hoop dance.

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- Go and open the door.

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If there's a fog, it will clear.

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[END PLAYBACK]

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This is a gentleman
named Richard Grunn.

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Richard Grunn is an amazing guy.

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He's a playwright.

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He's a poet.

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He's a performer.

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He writes one-man shows.

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He performs with his son.

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He has a project called Father
Joiner's Purgative Poetry

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Project.

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And it is a one-man show in
which all of the characters

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are people in a
church poetry group

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who get together
on Tuesday nights

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and read poetry to each other.

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Rich Grunn plays all
of the characters,

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including the title
character Father Joiner,

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and he changes into each
character in front of you.

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So part of his
performance itself is you

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get to see him change
and assume the character

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that he's about to do
with poem [INAUDIBLE]..

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[VIDEO PLAYBACK]

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- And on behalf
of the Purgative--

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If you've been through a
lot of poetry readings,

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his events are--

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his production
is-- you will know

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every one of these characters,
even though you have never

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seen any of the characters.

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- A little bit
about the project,

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we started several years
ago and our basic belief

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is that poetry is for
everyone to enjoy.

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This past summer--

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I don't want to talk over him
and have him talk over me.

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One of the characters is Leo
Capelli of Capelli's Deli.

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Leo discovered simile,
so all of his poems

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rely very heavily on simile.

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And it's just a whole
host of other characters.

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It's a full evening production
of Rich playing everybody.

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Rich also makes these
things called walking poems

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with another of his
characters, and he makes these

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into films which are--

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[MUSIC PLAYING]

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[END PLAYBACK]

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It goes on from here.

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It's amazing.

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Another approach, Ward
Tietz is another guy

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who is sort of serially
obsessed with poetry

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that doesn't occur on the page.

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He does a lot of installations.

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This is just one of many.

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He also does some performances.

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This is a sculptural
performance.

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It's a performance using
letters, sculptures, and sound.

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[VIDEO PLAYBACK]

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[LAUGHTER]

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- You cook fish?

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You go out.

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You come back.

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It still smells of fish.

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The myth of metal.

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The myth of metal
it [? gives ?]..

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The myth of metal
[? gives ?] off--

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[END PLAYBACK]

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So more than just a
typical poetry performance,

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he's using letter forms as
sculptural objects and sound,

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and what they can do
other than be letters.

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This is a piece
that blows me away.

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It's a tessellation
of the word "sphere."

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It's a sphere composed
entirely of sphere.

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This is an installation by
a guy named Kaz Maslanka.

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Kaz is very heavily into
mathematical poetry.

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And we'll see some other
examples of mathematical poetry

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as we go on.

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This is an entire
installation in a room.

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And you can walk
around it and interact

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with this piece in full
three-dimensional reality.

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Here's another example
of a mathematical poem.

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There's a whole
subgenre of poetry

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that is mathematical poems.

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Some of them incorporate math
very directly, as this does.

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And this is a whole series.

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This is, I think, about 150
different mathematical poems

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that Craig Damrauer
has put together.

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There's a web version
of it, and there's also

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a print book version of it.

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There's also people
doing mathematical poetry

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for exhibition.

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There's formulae that they
find beautiful that they're

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having printed, beautifully
typographically designed

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and mounted in
installations and galleries.

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Speaking of installations,
this is a piece

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that I find amazingly beautiful.

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Even though it's minimalist
and only one word,

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it's evocative of
so much more, which

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is a defining characteristic
of poetry for me.

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Here's a different
approach to an installation

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than the past one
where everything

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is a little bit more indirect.

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What you're seeing
here is, depending

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on the angle that you approach
this particular piece,

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it's going to look like
this from off to the side.

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And as you rotate around,
it will all finally

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come into perspective,
which I suppose

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is another defining
characteristic of poetry

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for me.

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Sculptural, but again,
similar trope, this

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is something that is presenting
some simultaneity in a new way.

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I would love to
see something done

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like this on a much larger scale
with a much larger set of text.

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This is a guy named Ted
Warnell from Canada.

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What makes this piece
particularly intense

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is that it's HTML and CSS-only.

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This is a piece that's nothing
but code until you render it

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in a web browser, and then it
makes this amazingly beautiful

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visual poem.

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He's an amazingly
prolific guy, too.

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I would not be surprised if
Ted has made 10,000 pieces.

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That will not surprise me.

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And it's all code-based.

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He's a real big code poet.

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There's a lot of people who
think computer poems are

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relatively new.

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I can tell you they are not.

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These pieces were not the
first computer poems ever done,

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but they are among the first.

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It's sort of arguable
which were the first.

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I was involved in this from
a preservation standpoint.

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These pieces were on 5
and 1/2 inch floppies

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that, if anybody remembers,
they were actually floppy.

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They have a life of about
five to seven years.

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And we were working with some
pieces that were seriously

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degraded, and if we
couldn't extract the data

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from these floppies,
these pieces

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would have been lost forever.

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So I worked with a
group of other people

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in order to restore these.

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So these pieces now, they were
made in 1984 on an Apple IIe,

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but they now exist in
a JavaScript version,

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a QuickTime version,
an emulatable version.

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You can download an
emulator for an Apple IIe

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and play it in its original.

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Also, the raw code
now exists, too.

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So computer poetry has been
happening since at least 1984.

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It is a problem of how
to preserve, and protect,

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and conserve, and archive.

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That's something that
concerns me greatly.

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There's about 20 poems in this.

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Another interesting
aspect of this,

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as we went through this,
there were some people

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who had seen the original Nichol
"First Screening" that we just

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saw a bit of.

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And when Marko
Niemi from Finland

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was doing the
JavaScript version,

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he was going through
the code line

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by line, which was BASIC
code, and figuring out

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how he was going to do these
JavaScript installations.

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And an interesting thing
about "First Screening"

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is when you put it in,
it would just begin.

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And then after it
got to the end,

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a menu would come up
that said, "to see

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titles and GOSUBs, which
were the subroutines,

00:09:20.540 --> 00:09:22.320 align:middle line:84%
it told you to type a
certain line number.

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So it required interaction
from the viewer,

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way ahead of its time for 1984.

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And when you typed that in,
you got a list of titles

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as promised, but
then you also got

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another instruction that would
have been previously hidden

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if you didn't bother looking at
the titles that said you could

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type something
else, and you would

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see this other poem that
was not originally included

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in what auto-ran.

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So when you typed
that, you've got

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this really long piece that's
a Fred and Ginger Rogers

00:09:46.940 --> 00:09:49.323 align:middle line:90%
piece, and then it ends.

00:09:49.323 --> 00:09:51.740 align:middle line:84%
But what Marko found in going
through the source code line

00:09:51.740 --> 00:09:55.970 align:middle line:84%
by line was at the very,
very end of this program,

00:09:55.970 --> 00:10:00.540 align:middle line:84%
there's this other poem that
Nichol put in the source code.

00:10:00.540 --> 00:10:02.240 align:middle line:90%
It's not an unfinished poem.

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It's not notes for something
that he intended to do.

00:10:05.810 --> 00:10:09.320 align:middle line:84%
It's there for the person
who looked at the source

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code, which I find
amazing, and beautiful,

00:10:12.560 --> 00:10:17.480 align:middle line:84%
and in the spirit of
bpNichol entirely.

00:10:17.480 --> 00:10:20.720 align:middle line:84%
Young-Hae Chang Heavy
Industries has been around--

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as long as there have
been hypertext poems,

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there's been Young-Hae
Chang Heavy Industries.

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They are very prolific.

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Most of their work is
of a similar style,

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so you can get the
aesthetic from it

00:10:33.330 --> 00:10:34.580 align:middle line:90%
by playing just about any one.

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I'll play this one for you.

00:10:35.510 --> 00:10:36.177 align:middle line:90%
[VIDEO PLAYBACK]

00:10:36.177 --> 00:10:38.438 align:middle line:90%
[MUSIC PLAYING]

00:10:38.438 --> 00:10:54.080 align:middle line:90%


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- This is Michael Kimmelman
from the New York Times.

00:10:56.990 --> 00:11:00.320 align:middle line:84%
It may seem like there
are Van Gogh [INAUDIBLE]

00:11:00.320 --> 00:11:01.940 align:middle line:84%
but in fact, the
Van Gogh [INAUDIBLE]

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show is the first full-fledged
look at Van Gogh in 20 years.

00:11:07.880 --> 00:11:10.250 align:middle line:84%
And is also the first
small-scale look

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at the works that established
Van Gogh's reputation

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after his death.

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If you want to skip
the show because you're

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afraid the crowds that
would be on [INAUDIBLE]..

00:11:19.020 --> 00:11:23.610 align:middle line:90%


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The story of the artist's
life were so [INAUDIBLE],,

00:11:27.980 --> 00:11:29.930 align:middle line:84%
but when you see the
works in the flesh,

00:11:29.930 --> 00:11:33.380 align:middle line:84%
they have extraordinary power
to remind you of this great

00:11:33.380 --> 00:11:35.660 align:middle line:84%
narrative, one of the great
stories in Western art,

00:11:35.660 --> 00:11:39.560 align:middle line:84%
of an artist with no discernible
talent, and no training,

00:11:39.560 --> 00:11:41.479 align:middle line:84%
who was able to,
through sheer force--

00:11:41.479 --> 00:11:42.062 align:middle line:90%
[END PLAYBACK]

00:11:42.062 --> 00:11:43.910 align:middle line:84%
I'll leave the rest as
a study for the reader.

00:11:43.910 --> 00:11:45.620 align:middle line:84%
And by the way, I will
have a list of all these

00:11:45.620 --> 00:11:47.360 align:middle line:84%
at the end for anybody
who's interested.

00:11:47.360 --> 00:11:49.250 align:middle line:90%
Their pieces are all like this.

00:11:49.250 --> 00:11:52.440 align:middle line:84%
The same trope over and over,
hits you over the head with it,

00:11:52.440 --> 00:11:55.100 align:middle line:90%
I love it.

00:11:55.100 --> 00:11:57.380 align:middle line:90%
These are some of mine.

00:11:57.380 --> 00:11:59.600 align:middle line:84%
I have a love-hate
relationship with these pieces

00:11:59.600 --> 00:12:04.400 align:middle line:84%
because they were done in
1998, which at this point

00:12:04.400 --> 00:12:06.230 align:middle line:90%
is forever in internet time.

00:12:06.230 --> 00:12:07.730 align:middle line:84%
But they still
make people smile,

00:12:07.730 --> 00:12:11.600 align:middle line:90%
so how can you not love that?

00:12:11.600 --> 00:12:18.070 align:middle line:84%
This is my personal
favorite because I

00:12:18.070 --> 00:12:22.280 align:middle line:84%
got to make a verb I think as
a poet, that's a rare thing.

00:12:22.280 --> 00:12:24.200 align:middle line:84%
These were done,
like I said, in 1998.

00:12:24.200 --> 00:12:26.300 align:middle line:84%
They were all done in
the course of an evening.

00:12:26.300 --> 00:12:27.740 align:middle line:84%
I was learning
how to use a Wacom

00:12:27.740 --> 00:12:31.910 align:middle line:84%
tablet so that I could show
someone else how to use it.

00:12:31.910 --> 00:12:33.950 align:middle line:90%
And I was using a program--

00:12:33.950 --> 00:12:37.820 align:middle line:84%
this is my
handwriting that did--

00:12:37.820 --> 00:12:39.500 align:middle line:84%
it made animated
GIFs, basically.

00:12:39.500 --> 00:12:42.230 align:middle line:84%
You would show it frame one
and frame 10, and then tell

00:12:42.230 --> 00:12:43.988 align:middle line:84%
it to animate
everything in between.

00:12:43.988 --> 00:12:46.280 align:middle line:84%
The algorithm it used had a
certain amount of overshoot

00:12:46.280 --> 00:12:46.590 align:middle line:90%
in it.

00:12:46.590 --> 00:12:47.570 align:middle line:84%
And so there was
this bounciness.

00:12:47.570 --> 00:12:50.070 align:middle line:84%
It would go a little further
than you thought, and then sort

00:12:50.070 --> 00:12:51.800 align:middle line:84%
of oscillate back,
so I started playing

00:12:51.800 --> 00:12:53.672 align:middle line:84%
with this sort of
rubber banding.

00:12:53.672 --> 00:12:55.130 align:middle line:84%
This is a game my
sister and I used

00:12:55.130 --> 00:12:56.435 align:middle line:90%
to play when we were a kid.

00:12:56.435 --> 00:12:58.310 align:middle line:84%
I think my parents made
us do it just to keep

00:12:58.310 --> 00:13:01.170 align:middle line:90%
us quiet in the backseat.

00:13:01.170 --> 00:13:03.170 align:middle line:84%
One person would say,
"ha," then the next person

00:13:03.170 --> 00:13:04.295 align:middle line:90%
would have to say, "ha ha."

00:13:04.295 --> 00:13:05.885 align:middle line:84%
The next person would
say, "ha ha ha."

00:13:05.885 --> 00:13:07.760 align:middle line:84%
Then it would continue
until someone laughed,

00:13:07.760 --> 00:13:08.885 align:middle line:90%
and then the game was over.

00:13:08.885 --> 00:13:11.410 align:middle line:90%
[LAUGHTER]

00:13:11.410 --> 00:13:14.475 align:middle line:90%