Limited Fork 101

A Fold in the Map, A Wrinkle in Time, The Emergence of a Complex Coastline of Idea

Today is the anniversary of the death of Sadako at age twelve --her peace cranes are maps, each one; collectively they become a more powerful machine --when a thousanf paper cranes are present, they dominate, they become the context of reality, the "allness" of existence is both held by and shaped by their wings. For a brief time, she was an atomic bomb survivor in Hiroshima.

Please click here to watch the video poam "Hiroshima" by a student practitioner of Limited Fork Poetics.

Please read Sadako's story here.

Please watch this video about her:

FIRST WORLD MAP of HAPPINESS: GET ON THE MAP!

While you're busy mapping and realizing how happy you are to be making map poams of an allness of a poem, check out first world Map of Happiness. Here's another article about the mapping of the quality of life, and here's a link to the questionnaire itself, in case you're interested.

Take the unhappy planet index survey

From Men's Health where there's tons of useful stuff comes this article and survey (the last page) about global happiness.

And now, here's (equivalent of) a wheelbarrow of tethers to attach a mapping of an allness to various contexts of the material world: You can compare these surveys and their results with this data from the Material World research. This data is part of Nova's WORLD in the BALANCE ongoing investigation.
Info about Material World, the print object, is available here.

HABA & (some of) WHAT (may) DEPEND

First some comments about mapping and maps:

As Hansel and Gretel attempted to do with breadcrumbs (if you do not know that fairy tale, click HERE for a side-by-side, paralllel mapping of two versions of the tale, the 1812 and the 1857 versions), dropping the breadcrumbs so as to be able to find their way back, so can you map to keep track of your decisions as you navigate the poem and your ideas about it.

In the 1812 and 1857 versions of the fairy tale, differences are obvious; it is easy to understand how changes are (also) linked (or tethered) to particular circumstances that are themselves linked (or tethered) to particular locations in time. The differences are obvious. But these differences in text are not all of the differences linked to the versions of the tale. The system of each version includes information of the kind also associated with a (version of) poem, for instance, whose text is unchanged over a period of time. Each respondent is linked to sets of circumstances that are linked to periods of time (that may be on different scales; not just one definitive moment. Your maps will also be documents of some of the history of the circumstances of the moments in which the circumstances and maps occur.

(It is likely that) You will be able to know (more about) where thinking went, and you will be probably be more able to offer explanations for those decisions. You can, of course, make choices that help quide thinking intoi particular shapes, particular structures.

At some point during the mapping, structure of the idea emerges. (Some of) the shape of the idea will be revealed. As the idea unfolds, a shape of the unfolding also emerges. Some aspects of the shape may become more important to your sense of the map unfolding than other aspects. You may choose to focus further on a particular aspect of the emerging shape of the thinking. A theme may become more refined, more complex with even more facets.

Similarly, the poem itself maps idea(s). Important landmarks (or charged images, phrases, etc.) may be marked to emphasize them, a rhyme scheme as a system of both visual and sonic tethers, indentation, italics, parentheses, or other departures from the dominant typography and punctuation of the poem; the attention that is drawn to the line endings —ways to emphasize features on the map.

For the next two weeks, work on these maps. Do understand that in a blog atmosphere, you can return to your map again and again (after the two weeks). You may add to the map, subtract from the map, update the maps, submit multiple maps, alternative maps, etc. Someone might think to compile a supermap of class Red Wheelbarrow maps and Lightning is a Yellow fork maps, 2D and/or 3D composite maps (multi-faced objects such as platonic and archimedean solid. Do think of crystals also, and gem-cut —faceted— diamonds. So for thew Monday after the study break, post the mapping to date, butit won't be a definitive map as few maps can be since what is represented by the map undergoes change, is not in a final or ultimate form. The map is linked to circumstances that shaped its existrence, one of which is some moment. The map was made during some location in time, a location that is not universal, as the simultaneous experience of time does not mean the simultaneous experience of the same time. So specifying a when also requires the linking to a place that experienced that when at the indicated moment.

Do not approach this as if you making something finished, as if you are making something where the expectation is that you submit the polished version; you are submitting a progress report of your navigation of the mapping of either The Red Wheelbarrow or The Lightning is a yellow fork. There is some impermanence allowed in an evolution of thinking; changes over time and circumstance are expected. In your blogs, you may update thinking at any time, and not (necessarily) by editing a post, but by making other posts, allowing the journey documented (including the journey's complexity, its multi-faced nature) to be more accurate. Perhaps also allowing the map to be more interesting or beautiful as often the multiple branches contributing to the form and shape of a tree (such as an apple tree) also contribute to its aesthetics.

(— —I haven't been able to maintain three blogs I began in July (because of an incredibly persistent neurological attack, but I include links to them so that you may see some literal mapping that occurs within the blogs which themselves are maps:
Tine Times, Tine Times Cyber Workshop, and Tine Times 2. I'll be updating these blogs asap and will be starting a neurological winter blog soon— —)

The map can also help someone (including the maker of the map) attempt to locate something specific, inclkuding an outcome that emphasizes aesthetic qualities. Perhaps your maps can be considered beautiful according to some criteria. Perhap your maps will attempt to weight the aesthetic value against some other possible values such as intellectual (according to some criteria) value. How might such a comparison be made evident?

To get to the HABA promised in the title of this post, please click on "Continue reading" that follows this sentence.

We Were SPEAKING OF toy STOVES and OVENS, you know

Thanksgiving dinner using two easy-bake ovens:

Jiffy-pop and Kenner Easy-bake Oven and Bubblematic commercial from the sixties:

SCRATCH Your Way to a Poam

That's right; click HERE and experience what it might mean to Scratch! your way to making and sharing poams and commentary about poams (which includes poems).

This is a tool you might be able to take advantage of in your mapping (and in other aspects of considering poetry) in addition to iMove, and similar tools of making.

RULES, "A RETROSPECT" by EZRA POUND, & HIERARCHIES OF NAVIGATION

Click some rules of contemporary North American poetry.

Apply (some of) the rules to:
the dreamlife of letters,
to Vniverse,
and to: We Real Cool

Are there aspects in these rules that you feel tend to hold true for a variety of established, conventional, traditional, electronuc, and experiemntal forms? Please offer details of your rationale.
How would you describe the structure of "dreamlife of letters" and of "Vniverse"?
How did you establish a hierarchy of navigation for these three poems?

PATTERN BUILDING PROPOSAL

PROPOSAL:

To consider an *allness of a poam (product of an act of making, may be a poem)
as (at least) three-dimensional.

To consider that the components of the poam plus the whole poam form an allness of poam.

To consider that each component (of a poam) may be considered a (sub)allness.

To consider that each component of a component (of a poam) may be considered a sub/(sub)allness.

To consider the three-dimensionalaity of idea further, please click here.
Do manipulate the polyhedra; click on them, turn them, etc (and give yourself various angles of perception, various perspectives for consideration).

Just as a sonnet, villanelle, or sestina (three formal poetic forms with enduring use in contemporary US poetry have rules that serve as templates for both identifying and using the forms, so too does three-dimensional reality have common forms (or structures) from which other forms (and structures) may be built.

The basic 3D units arek nown as the PLATONIC and ARCHIMEDEAN SOLIDS.

Variations of these basic (or archetypal) componants of existence occur on all scales, of course.

Once a poam is considered to be three-dimemsional, the matter of volume emerges; what are possibilities for the form(s) volume might take in a system of a poam?

Flat or 2D forms of solids exist; the print object may be considered a 2D form of a 3D idea; repetition in the sonnet, villanelle, and sestina can easily correspond to faces of a solid (in a simple, very generalized, very regular model).

While a one-to-one correspondence of poam unit to solid face/vertex/angle/edge may work for general modeals, spceficity and details add complexity to and departures from the general model to a specific incident of poam. Those irregularities that, among other things, correspond to originality (of a poam).

Consider what haapens in depaicting and measuring a coastline; the smaller the increment of measure, the more detail; with a small enough unit of measure, an infinity of coastline (more-or-less).

Here are some nets of polyhedra.
Choose one (with or without irregularities that you can cause, if you like), and onto that net, please map either an allness (define the parameter of allness you are using, and provide a reason for considering that allness) of Emily Dickinsons' The Lightning is a yellow fork

or an allness (define the parameter of allness you are using, and provide a reason for considering that allness) of William Carlos Williams's The Red Wheelbarrow.

Please make at least two maps of the same allness, one of which should be 2D, one of which should be 3D or sound, both of which should be posted in your blog (a movie of the making, the sound of the making, still images of the making, etc.) posted in your blog.

Please Document what happens as you explore ITERATIONS OF AN ALLNESS IN A POAM