Been having an enjoyable half an hour messing around with the QR code generator: the trouble is that my small phone app cannot handle anything too complicated - William Shakespeare and John Donne were both out - or in colour.
Nice if it could.
Plus the qrcode generators themselves have a word limit too - so bye bye Elizabeth Bishop.
The final solution for your delectation is a riddle poem in QRcode. A riddle within a code. As 3D as I can get so far. Enjoy.
You can read the original 3D poetry post here - I think the trees have reminded me - http://poetandgeek.blogspot.co.uk/2011/05/3d-poetry.html
Showing posts with label William Shakespeare. Show all posts
Showing posts with label William Shakespeare. Show all posts
Wednesday, 21 May 2014
Sunday, 23 February 2014
Blog tour: you are here
Welcome to p&g - if you are on the blog tour, take a walk round and see what the weather is like...if not, just do what you normally do!
Thanks to Jules Horne for giving directions to here. She has asked some questions which I will attempt to answer. (Don't normally do this stuff - click on a few topics on your right to get a feel for our everyday p&g.)
1) What am I working on?
Well, too many different things probably - my own collection, the Fragments project (http://fragmentsinwords.tumblr.com/), a longer poem on commuting, Bimblebox 153 birds (http://bimbleboxartproject.wordpress.com/2014/01/07/bimblebox-153-birds/), constantly distracted by vintage petrol pumps, disused buildings, Elizabeth Bishop, old roads, shepherds, Victorian engineering, taxidermy, lichen, John Leyden, renaissance gardens, elegant code etc.
2) How does my work differ from others of its genre?
Good question - in fact like all poets I respect what went before and try to learn from it. I have been working on a verse form based on William Shakespeare's satiric use of a courtly style of speech in Much ado about nothing (based on John Lyly's Euphues the anatomy of wit, a speech style hailed at court as the new English). This involves for me balancing opposites like black and white, harmony by mentioning each seasons, or times of day, and adding whatever else I feel like to a poem structurally - preferably so the reader is unconscious of it - unless they look closely - in which case they can share the joke. Above all, I value a human response to poetry. Nothing is set in stone.
3) Why do I write what I do?
I used to write and put on plays at school (crocodiles, nightclub singers...) and always thought I would be a novelist. But poems scare me. They are the most ancient form of all. And also the most up-to-date. Generations use poems to remember history, laws and family history from ancient manuscripts to birthday cards. They have no boundaries.
4) How does your writing process work?
Walking round in circles helps. Outside. Usually. Or driving the car places. Then sit somewhere and write stuff down. Edit it later. And again. But sometimes it all happens quickly. And that's cool too.
Next stops on the tour (and more on these 3 shortly) Elizabeth Rimmer here http://burnedthumbblog.blogspot.co.uk/, Andrew McCallum here http://andramccallum2013.wordpress.com/, Dorothy Bruce here http://jingsandthings.wordpress.com/ and back to Jules Horne here http://juleshorne.wordpress.com/
And if that isn't enough for you try Jane Aldous' Jane's Writing Shed http://kitchenpoetry.blogspot.co.uk/
Thanks to Jules Horne for giving directions to here. She has asked some questions which I will attempt to answer. (Don't normally do this stuff - click on a few topics on your right to get a feel for our everyday p&g.)
1) What am I working on?
Well, too many different things probably - my own collection, the Fragments project (http://fragmentsinwords.tumblr.com/), a longer poem on commuting, Bimblebox 153 birds (http://bimbleboxartproject.wordpress.com/2014/01/07/bimblebox-153-birds/), constantly distracted by vintage petrol pumps, disused buildings, Elizabeth Bishop, old roads, shepherds, Victorian engineering, taxidermy, lichen, John Leyden, renaissance gardens, elegant code etc.
2) How does my work differ from others of its genre?
Good question - in fact like all poets I respect what went before and try to learn from it. I have been working on a verse form based on William Shakespeare's satiric use of a courtly style of speech in Much ado about nothing (based on John Lyly's Euphues the anatomy of wit, a speech style hailed at court as the new English). This involves for me balancing opposites like black and white, harmony by mentioning each seasons, or times of day, and adding whatever else I feel like to a poem structurally - preferably so the reader is unconscious of it - unless they look closely - in which case they can share the joke. Above all, I value a human response to poetry. Nothing is set in stone.
3) Why do I write what I do?
I used to write and put on plays at school (crocodiles, nightclub singers...) and always thought I would be a novelist. But poems scare me. They are the most ancient form of all. And also the most up-to-date. Generations use poems to remember history, laws and family history from ancient manuscripts to birthday cards. They have no boundaries.
4) How does your writing process work?
Walking round in circles helps. Outside. Usually. Or driving the car places. Then sit somewhere and write stuff down. Edit it later. And again. But sometimes it all happens quickly. And that's cool too.
Next stops on the tour (and more on these 3 shortly) Elizabeth Rimmer here http://burnedthumbblog.blogspot.co.uk/, Andrew McCallum here http://andramccallum2013.wordpress.com/, Dorothy Bruce here http://jingsandthings.wordpress.com/ and back to Jules Horne here http://juleshorne.wordpress.com/
And if that isn't enough for you try Jane Aldous' Jane's Writing Shed http://kitchenpoetry.blogspot.co.uk/
Friday, 21 June 2013
MOSI and the thistledown coat
Paid a return visit to the Museum of Science and Industry (MOSI) while in Manchester doing geeky stuff last week. Hung out in the textile gallery of which more above. This museum is a must for poets with a techie interest.
Example 1: the thistledown coat (detail)
How was it made? How could it be made? And here is a little bit of Shakespeare in the middle of the machine floor. And I am sure that is how it was in the beautiful minds who worked there...not all misery but also power. The treadle bending to the imagination.
More about MOSI here http://www.mosi.org.uk/ (full details of a seismic sound installation on the 30th June next week too).
And how it is under threat - how can this be? - here http://www.manchestereveningnews.co.uk/news/greater-manchester-news/save-museum-science-industry-mosi-4051169
Example 1: the thistledown coat (detail)
How was it made? How could it be made? And here is a little bit of Shakespeare in the middle of the machine floor. And I am sure that is how it was in the beautiful minds who worked there...not all misery but also power. The treadle bending to the imagination.
More about MOSI here http://www.mosi.org.uk/ (full details of a seismic sound installation on the 30th June next week too).
And how it is under threat - how can this be? - here http://www.manchestereveningnews.co.uk/news/greater-manchester-news/save-museum-science-industry-mosi-4051169
Peaseblossom! Cobweb! Moth! and Mustardseed!
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