Oh Patrick
you’ve started something with that. I won’t go back to clay, but have a real fountain pen, * do, usually, write a first daft (not that they always get changed than much, but sometimes…).
Have certainly seen people reading from their smartphones (which I don’t have; but could use my i-pod or). I transferred a sounding piece to my I-pod & except for th pace between the tens, it looked pretty much as on paper ( as we adjust our eyes to the new surface?).
A big hmmnnn….? to it all…
Doug
> On Apr 26, 2017, at 6:44 AM, Lawrence Upton <[log in to unmask]> wrote:
>
> Oh yes. I'm all for it. Whatever it is!
> In the last hour or two I have been looking at a piece apparently written
> on to a mobile recording device 15 years ago -- although I have a faint
> suspicion that I wrote it as if I were transcribing... I can hardly
> remember it.
> I agree with you about trying to track the origins et cetera. Wherever it
> comes from in us, let's trackit once it's out!
> *
> There's plenty of mumbling from people with sheets of typescript -- I won't
> even spend time considering the possibility of remembering. Remembering?
> And , while I know some who can deliver a fine reading from a smartphone,
> it seems more likely that they won't
>
> L
>
>
>
>
>
>
>
>
> On 26 April 2017 at 13:31, Bill Wootton <[log in to unmask]> wrote:
>
>> Heathen knights, Patrick would now make use of lances for selfie sticks no
>> doubt. Lawrence, when I rattle out poems on ipad, I still save versions of
>> them and send them to desktop. Good to know where stuff came from and
>> sometimes the freshness of early drafts still trumps stuff much-mucked
>> with.
>>
>> Bill
>>
>> On Wed, 26 Apr 2017 at 8:25 PM, Lawrence Upton <[log in to unmask]>
>> wrote:
>>
>>> I've experienced this poems on a mobile phone stuff.
>>> One bit of me finds it exciting -- in some ways
>>> but it seems to make sense of the words spaced out meaningfully
>> impossible
>>> and negates benefits of redrafting -- thinking now of evidence of
>>> benefitting writing skills by printing out and redrafting that was known
>>> maybe 30 years ago -- but that's been lost or subsumed into "computers
>> are
>>> good" and now what I think of as idiots' phones subsume even that
>>>
>>> I tried, at a workshop, to express this a while back. The young person
>>> addressed listened very politely and then said "but I don't know about
>>> that"
>>>
>>> L
>>>
>>>
>>>
>>> On 26 April 2017 at 11:02, Patrick McManus <
>> [log in to unmask]>
>>> wrote:
>>>
>>>> thanks Bill -I have never been able to commit to memory -I remember
>> once
>>> I
>>>> was in a medieval play -had terrible job remembering my few line -hang
>> on
>>>>
>>>> 'her come I a heathen knight for St George to
>>>> fight...................................'wel some has stuck over 50
>>>> years!!!
>>>>
>>>>
>>>> On 26/04/2017 09:49, Bill Wootton wrote:
>>>>
>>>>> Printing? What's all this printing stuff, Patrick? At poetry readings
>>> I've
>>>>> been to recently, poets read their stuff, if they can't commit it to
>>>>> memory, straight off their mobile phones or tablets. I'm more like
>> your
>>>>> 'he' here for the moment but when the next ink cartridge conks, I
>> might
>>> go
>>>>> with the flow. I like your line here 'old a clay tablet'.
>>>>>
>>>>> Bill
>>>>>
>>>>> On Wed, 26 Apr 2017 at 6:20 PM, Patrick McManus <
>>>>> [log in to unmask]> wrote:
>>>>>
>>>>> *ALTHOUGH*
>>>>>>
>>>>>> he
>>>>>>
>>>>>> wrote
>>>>>>
>>>>>> his poems
>>>>>>
>>>>>> on his super
>>>>>>
>>>>>> highly efficient
>>>>>>
>>>>>> ultra-modern
>>>>>>
>>>>>> tech computer
>>>>>>
>>>>>> he
>>>>>>
>>>>>> nostalgically
>>>>>>
>>>>>> printed them up
>>>>>>
>>>>>> on his beloved
>>>>>>
>>>>>> old a clay tablet
>>>>>>
>>>>>> printer
>>>>>>
>>>>>> /pmcmanus/
>>>>>>
>>>>>> /s156/
>>>>>>
>>>>>>
>>>
>>
Douglas Barbour
[log in to unmask]
https://eclecticruckus.wordpress.com/
Recent publications: (With Sheila E Murphy) Continuations & Continuations 2 (UofAPress).
Recording Dates (Rubicon Press).
Listen. If (UofAPress):
and as you read
the sea is turning its dark pages
turning
its dark pages.
Denise Levertov
