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AH, well, what we bring to our reading, thus making it up, too, Lawrence. I can see why you would have quite FB. We havent sen that here. I am on it, as are some others on this list, mainly because it's a way of keeping in touch with other writers (my 'friends' there are almost all fellow writers (some of whom barely use it; others of whom do quite a lot). Quite a few little presses, writers groups, also use it, as a way of advertising inexpensively, & keeping at least a small audience in touch with what theyre about. As for the rest, thanks for the back story. Doug On 2011-02-23, at 9:15 AM, Lawrence Upton wrote: > That's interesting, Doug > > I was on facebook and withdrew when they took an advert from British > National Party. Of course, they ignored me. > > I find it difficult sometimes because it is in some quarters assumed that > I have access to Facebook or would wish to. And I am still ostracising > them. > > When I explain, I am ridiculed,particularly from a certain country to the > south of you - do I really think that I am going to influence facebook? > they ask contemptuously > > (This is a minority, of course, but they do seem to come from USA; and I > recall one then here who explained to me, as if to an idiot, at the time > of the invasion of Iraq (I think) that if your principles don't deliver > the expected return then you change your principles.... And there was the > gentleman who declared victory on the grounds that quote now a woman in > Kabul can fuck whom she wants and get a hamburger... But I digress) > > So,no, not consciously Facebook. I am excluded from that company by my > rather real anger. What that achieves, I am not sure. I sat quietly last > night listening to lifelong religious pacifists discussing the Quaker > Peace declaration. Apparently it is 350 years on. They're still not sure. > > I always say that I am not a Pacifist but am against violence, because I > can never get it out of my head that sometimes it may be justified though > on closer examination many such examples prove too complex for my > simplicities. I won't tender possible examples I haven't yet abandoned > because I am bound to upset someone if I do. > > Anyway, the poem. I suppose it is constructed anger. I wouldn't have used > those words myself. > > I just took a line for a walk. > > My starting point was the broch, of which I have book knowledge only > because I live too far south. I have, I believe, some work exhibited in > Scotland, in Dundee, and just decided not to go and smugly stare given the > high rail fare and my lack of time just now. And even then, half way to > the Pole Star, I wouldn't be near to brochs. > > Not only do they fascinate me, there is also the fascination of the > awareness that one doesn't know what's going on though really it isn't > that far back. I have enough experience, I believe, of standing in or > beside iron age remains and knowing I am ignorant of the known unknowns to > be able to transfer. > > Clear proof, say some broch commentators, of the need for defence. > > No, no, say others. Just status building. > > So I started from there and added contemporary paranoia! > > I'll shut up now. > > Toodlepip > > L > > > > > On Wed, February 23, 2011 15:49, Douglas Barbour wrote: >> Facebook politics Lawrence? >> >> >> I like the constructed anger here.... >> >> >> Doug >> On 2011-02-22, at 11:21 AM, Lawrence Upton wrote: >> >> >>> None of us fully knows what is listening. >>> And none tells now what is in truth wrong. >>> Because the walls are strong. We feel sure >>> light is dangerous, the dark much worse. We’ve seen, when the door is >>> blocked and we are at home. Contraries engage; and those who are outside >>> fear that which is familiar to all. Beware! Befriend all that would >>> befriend you hot from an unintelligent ailing, playing words; and >>> arguing: attack talk >>> troubled by a nature of nearest death. >>> >>> --- >>> NAMING and CURSING: some live text-sound compositions >>> http://www.revistalaboratorio.cl/2010/12/naming-and-cursing-some-live-te >>> xt-sound-composition/ >>> >>> --- >>> Lawrence Upton >>> AHRC Creative Research Fellow >>> Dept of Music >>> Goldsmiths, University of London >>> >>> >> >> Douglas Barbour >> [log in to unmask] >> >> http://www.ualberta.ca/~dbarbour/ >> http://eclecticruckus.wordpress.com/ >> >> >> Latest books: >> Continuations (with Sheila E Murphy) >> http://www.uap.ualberta.ca/UAP.asp?LID=41&bookID=664 >> Wednesdays' >> http://abovegroundpress.blogspot.com/2008/03/new-from-aboveground-press_10 >> .html >> >> >> Language has unmistakably made plain that memory is not an instrument for >> exploring the past but its theater. It is the medium of past experience, >> just as the earth is the medium in which dead cities lie buried. >> >> Walter Benjamin >> >> > > > -- > --- > NAMING and CURSING: some live text-sound compositions > http://www.revistalaboratorio.cl/2010/12/naming-and-cursing-some-live-text-sound-composition/ > > --- > Lawrence Upton > AHRC Creative Research Fellow > Dept of Music > Goldsmiths, University of London > Douglas Barbour [log in to unmask] http://www.ualberta.ca/~dbarbour/ http://eclecticruckus.wordpress.com/ Latest books: Continuations (with Sheila E Murphy) http://www.uap.ualberta.ca/UAP.asp?LID=41&bookID=664 Wednesdays' http://abovegroundpress.blogspot.com/2008/03/new-from-aboveground-press_10.html Language has unmistakably made plain that memory is not an instrument for exploring the past but its theater. It is the medium of past experience, just as the earth is the medium in which dead cities lie buried. Walter Benjamin