Tag: alt-text/ekphrasis

feb 9/RUN

3 miles
trestle turn around
32 degrees

Colder today, windier too. Back to winter layers. A lot of the run was a blur — or was it quick flashes?

10 Flashes

  1. looking down at the bare branches of the floodplain forest
  2. wet pavement by the welcoming oaks
  3. waving water under the lake street bridge
  4. uneven limestone also under the lake street bridge
  5. a woman with 2 dogs, one on each side, sprawled out on the trail
  6. the light blue-gray river below as I neared the trestle
  7. wind rushing past my ears
  8. a muddy trail on the grassy boulevard
  9. flashing lights from a parks truck
  10. the tree that looks like a person, with a burl right at eye level that looks like a head

before the run

Before the run, I gathered some more resources for my “how I see” project:

Reviewing more descriptions of ekphrasis, I’m wondering how it fits with what I’m trying to do. I wrote in my notes that my project exists somewhere between alt-text and ekphrasis.

Here’s a condensed version of a helpful article (Conventions of Ekphrasis) I found out conventions within the ekphrasis:

  • Speaking out: giving a voice to the mute art object , artwork speaks to the artist or the poem will speak to the mute visual artifact , poet may implore the painting/sculpture to speak or to justify the artist or poet’s work — technical term for giving a voice to the mute art object is prosopopeia
  • Praise: poet/persona frequently praises the mastery of the visual artist and his work
  • Paragone Competition:competitive relationship between words and images, an implicit critique of the material, its stasis, and its immutability, Poet may seek to establish superiority of words over the painter/sculptor and his material limitations by suggestion they have: more immediate access to the real; more immediate access to the divine; that one art has a more direct relationship with Truth; that one exists in either time or space and therefore is more accurately representative through the accuracy of its resemblance; more education, learning and talent or that it is less crude 
  • Emotional response: deeply moving visual experience that triggers a latent or unresolved emotional vulnerability, “transfixing” the poet, speechlessness, ability to “trick” the poet into believing that the work is “real”, the painting “breathes” life while the poet remains “breathless” before it
  • Stasis of the art object: painting is mute poetry and poetry a speaking picture
  • Enargia: to make the object lively appear before the reader’s eye through detailed description, use of sensory information, imagery, etc… In other words, so ekphrasis will also attempt to visually reproduce the art object for the reader so that the reader can experience the same arresting effect as the poet
  • Actions of the painter: linger on the actions of the visual artist concentrating on the act of creation and often paralleling the act of artistic creation with divine creation
  • Artist’s studio: reference or be wholly concentrated upon the artist’s studio
  • Museum ekphrasis: poet is wandering through the museum looking at various pieces and each begins to bleed into the poet’s poem/thoughts

during the run

Right before the run, I reviewed the ekphrastic conventions and decided to think about the competition between image and word — which has more access to the real? to truth? the divine? I had many thoughts — so many of them still floating, not quite remembered. I’ve decided to not try; if the thoughts are important, I’ll remember them at some point.

after the run

I kept trying to make more happen here — to find words for some of my thoughts, but we’re driving down to St. Peter for FWA’s band concert and I’m feeling the pressure to pack and get ready. So, that’s it. Oh — and this. I stopped at 2 miles to take this photo of the lake street bridge from below. I was inspired to take it because of a story RJP told me on our walk a few days ago. She and her friends hopped over a fence and walked up the arch over the water. Apparently there’s a room with a door and couch somewhere up in the arch where kids like to hang out. I thought about trying to get close to see it, but that would have required descending the uneven bricks and possibly twisting my ankle.

Under the Lake Street bridge. The bottom third of the image is of uneven limestone rocks sloping down to 2 pilings, a chain link fence, then river. Beyond the river more bridge -- cream colored or pale yellow -- with graffiti.
Under the Lake Street bridge. The bottom third of the image is of uneven limestone rocks sloping down to 2 pilings, a chain link fence, then river. Beyond the river more bridge — cream colored or pale yellow — with graffiti. The graffiti at the lower left looks black to me until I put the computer screen right up to my nose. Then I can see that it’s blue or purple or some bright color. Overall, I can see the edges of the limestone in the foreground, but the rest of the image is fuzzy and hazy and looks more like a dream or an abstract painting than a photo of a real bridge.

feb 8/RUN

5.3 miles
ford loop
47 degrees

Hooray for feeling strong and happy and unbothered by the wind! A good run, even though it feels strange with no snow. Scott told me it’s 5 degrees warmer here in Minneapolis than it is where we used to live in Upland, California. Wow.

Starting last night and lingering through the morning: rain. Not snow, but rain. Everything was wet and muddy and slippery. At the end of my run I noticed that I had specks of mud on my shirt — how did that happen?

Around mile 3, as I ran straight into the wind, a biker approached from behind. I heard her call out Fast! I wasn’t sure what to say, so I said, there’s a lot of wind! She agreed. Later I encountered the biker on the ford bridge — she was walking her bike while I was still running — There’s goes that fast runner! I waved and smiled. I did a lot of smiling at every person I encountered.

a strange winter sight: roller skiers, one of them wearing shorts!

Talked with Dave, the Daily Walker about how I’m missing the snow. He agreed, but only when it’s windy and there’s lots of snow and no one else out on the trail. Then it’s fun, he said. His version of fun is one reason why I like Dave so much.

Took 2 pictures of my view. Both are just south of the double bridge and the Horace W.S. Cleveland Overlook. Here’s one of them:

My view from above the gorge: bare limbed trees, all trunk and thin branches. A few trunks are thick -- like the one near the center of the image or the one leaning on the left side -- but most are thin, creating a transparent screen between runner (me) and river. The ground, in the bottom third of the picture, is mostly dead, curled-up brown leaves.
My view from above the gorge: bare limbed trees, all trunk and thin branches. A few trunks are thick — like the one near the center of the image or the one leaning on the left side — but most are thin, creating a transparent screen between runner (me) and river. The ground, in the bottom third of the picture, is mostly dead, curled-up brown leaves. Sometimes, this is what I see even when there aren’t thin, bare branches everywhere — my view slightly obscured by something in the way — dead cone cells, I think — creating fuzz or static or a slight pulsing or wavering of lines. Also, if this picture were in black and white I wouldn’t be able to tell the difference. Often I have to ask Scott: is this in color or black and white?

peripheral: how I see

before the run

Before my run, while I was reviewing my Oct 2023 log entries and encountering several of my “how I see” photos, it came to me: this should be the new version of my vision poems. I want to study the ekphrasis form (An ekphrastic poem is a vivid description of a scene or, more commonly, a work of art. Through the imaginative act of narrating and reflecting on the “action” of a painting or sculpture, the poet may amplify and expand its meaning — def). Then I want to write a series of “how I see” poem/descriptions. These will be about experimenting with the form and exploring ways to describe how I see. I wrote in my notes: not about what I can’t see, but what I can. I’m also interested in experimenting with the idea of alt-text as form — I have a few sources for this. I’ll read some Georgina Kleege and her latest book, More Than Meets the Eye. These poems will be practical — describing the literal way I see — but also poetic — strange, unsettling, more than a report.

I’m thinking that these poems would involve describing what I see in the photo and what I saw when I was taking the photo. Also, they’re as much about HOW I see (the mechanics/process) as WHAT I see. I love this idea; I hope it sticks!

some sources:

during the run

While I ran lots of different thoughts flashed. First I thought about Marie Howe and the idea of observing and not looking away. Describing what you see with details not metaphors. Then I thought about how “looking” works for me, how it’s harder because of what I can and can’t see. How much can any of us (no matter where we are on the spectrum of seeing/blind) actually see? Then I started thinking about Huidobro’s poem, “Natural Forces” and all of the different glances he describes — One glance to shoot down the albatross. What do my different glances see?

right after the run

During my walk back home, I thought more about how I see (and spoke those thoughts into my phone). I was reminded of Robin Wall Kimmerer and her chapter, “Learning to See” in Becoming Moss. It’s about how we can learn to see the small things — like moss — that were invisible to us before.

I also thought about how I’m interested in the process we use to see and how that shapes what we see and how it enhances or detracts from our ability to behold/witness. Yes! This connects back to Ross Gay and beholding, which I discussed on here a few years ago.

I’m interested in how we sense without seeing, or how we see with our other senses (like sound). And I’m interested in thinking about how vision isn’t the primary mode in which we understand and make sense of things. It is only one of many ways, not THE way.

Ekphrasis

The verbal representation of visual representation.

Basically, an ekphrasis is a literary description of art. Like other kinds of imagery, ekphrasis paints a picture with words. What makes it different from something like pictorialism is that the picture it paints is itself a picture: ekphrasis stages an encounter between representations in two mediums, one visual and one verbal.

What is Ekphrasis?

key feature of an exphrasis poem: it engages with an artistic representation — does this fit for my project? I think so, especially if I make the taking of the photo as part of the description.

Another helpful definition of Ekphrasis from Poets.org:

Ekphrasis is the use of vivid language to describe or respond to a work of visual art.

Ekphrasis

The purpose of ekphrasis was to describe a thing with such detail that the reader could envision it as if it were present. 

I’m interested in using language to help others experience how/what I see.

feb 6/SWIM

2 miles
ywca pool

Met RJP at the pool again after she was done with her classes. Added in about 1000 yards of swimming with the pull buoy. I tried reciting the poem I memorized yesterday — Linda Pastan’s “Vertical” — while I swam, but it was difficult. I couldn’t sync up the lines with my breathing rhythms. I don’t think I was ever able to recite the whole thing, only the first bit: “Perhaps the purpose of leaves is to conceal the verticality of trees which we notice in December as if for the first time: row after row of dark forms yearning upwards.”

10 Things

  1. cloudy water, at least as much, maybe more?, crud than the last time I swam: floating hairballs, some strange stain on the wall tiles in my lane
  2. when I got in the pool, there was only one other swimmer. More people came, then left. At one point, most of the lanes were filled, but it was never too crowded
  3. I could see that a storm was moving in by how the pool floor kept getting darker then lighter as the thickening clouds moved past the sun
  4. heard a click underwater several times. Decided it was caused by the swimmer next to me — her knee of elbow clicking as she did the breaststroke
  5. watching my daughter swimming freestyle underwater — looking strong and serious. Once as I passed her, I kept my head below looking over at her until she looked back
  6. doing my starting ritual of pushing off and them swimming underwater until I reached the blue line and the end of the shallow water, I held my arms out straight in front of me, almost squeezing my ears. I felt like I could have stayed underwater until I reached the wall
  7. the muscle I felt most while I was swimming today was my calf, and especially as I kicked harder during my first lap. It wasn’t sore, and it didn’t hurt, I just felt it more
  8. following behind my daughter, trying to stay slow and never pass her, I started my flip turn then stayed at the wall, suspended underwater
  9. worked on my flip turn, trying to flip with my core, and not my arms
  10. every so often, when the sun came out from behind the clouds, I saw a circle of light on the pool floor

Yesterday I posted a poem from Linda Pastan that describes a sparrow as “brief as a haiku.” That made me think of the first poem in her final collection, Almost an Elegy:

Memory of a Bird/ Linda Pastan

Paul Klee, watercolor and pencil on paper

What is left is a beak,
a wing,
a sense of feathers,

the rest lost
in a pointillist blur of tiny
rectangles.

The bird has flown,
leaving behind
an absence.

This is the very
essence
of flight—a bird

so swift
that only memory
can capture it.

All of this quick movement and the brevity of the bird in flight, also made me think of another poem by Pastan I discovered today:

The Birds/ Linda Pastan

are heading south, pulled
by a compass in the genes.
They are not fooled
by this odd November summer,
though we stand in our doorways
wearing cotton dresses.
We are watching them

as they swoop and gather—
the shadow of wings
falls over the heart.
When they rustle among
the empty branches, the trees
must think their lost leaves
have come back.

The birds are heading south,
instinct is the oldest story.
They fly over their doubles,
the mute weathervanes,
teaching all of us
with their tailfeathers
the true north.

Because of my interest in peripheral vision and what it means to see movement (as opposed to sharp, fixed details), I’m always trying to find poems that offer details and descriptions of movement. I love how much Pastan focuses on how the birds move — they swoop and gather, cast wing shadows, rustle like leaves. She doesn’t offer any descriptions of their color, size, or sound. She doesn’t even name them. I don’t miss those details. The description of their movement is enough.

I love all of this poem, but today, especially this:

They fly over their doubles,
the mute weathervanes,
teaching all of us
with their tailfeathers
the true north.

Their doubles, the mute weathervanes? Tailfeathers as teachers? So good!

august 13/RUN

1.8 miles
river road path, north/south
64 degrees
9:00 am

Overcast and cooler. Feeling more like fall is coming. Breezy. Heard lots of shivering leaves, some roller skiers’ poles clicking and clacking. Got a “good morning!” and “have a great day!” from Mr. Morning! and a “Say hi to my wife!” from Dave, the Daily Walker. No rowers or views of the lake. Lots of voices — from runners and walkers — hovering in the air.

Scrolling through my Safari Reading List, I found two poems I had saved, both featuring ants:

The Sunset and the Purple-Flowered Tree/ Joshua Jennifer Espinoza

I talk to a screen who assures me everything is fine.

I am not broken. I am not depressed. I am simply

in touch with the material conditions of my life. It is

the end of the world, and it’s fine. People laugh

about this, self-soothing engines sputtering

through a nosedive. Not me. I’ve gone and lost my

sense of humor when I need it most. This is why I

speak smoke into a scene. I dance against language

and abandon verse halfway through, like a broken-

throated singer. I wander around the front yard,

pathless as a little ant at the tip of a curled-up

cactus. Birds flit in and out of shining branches.

A garden blooms large in my throat. Color and life

conspire against my idea of the world. I have to

laugh until I am crying, make an ocean to land

upon in this sea of flames. Here I am.  

Another late-winter afternoon,

            the sunset and the purple-flowered tree

trying their best to keep me alive.

With Ant and Celan/ Eamon Grennan

This tiniest mite of an ant, no bigger
than a full stop, is making its careful
way across a poem by Celan and
stopping to inspect with its ant
feelers (can it smell or see? is all in
the idiom of touch?) each curve of
each letter, knowing nothing of the
mill of thinking that ground into it,
into each resonant syllable of each
word. The ant stops on Sprache and
sniffs at its ins and outs, its blank
whites and curlicues of black, then
moves on to the next word, Sprache,
and busies itself with its own ant-
brand of understanding; but finding
nothing of what it seeks it moves to
the blank margin of nothing more,
stumbles over the edge of the page
and I have to imagine it is saying (if
that’s the word) to itself something
that translated means No food.
Nothing here . . . And so now, gone
back into its own weird world of
stones and weeds and grass and sun-
shadows, it is lost to me as I go back
into the dark wood of Celan’s poem—
a world of words I feel my diligent
way through, sniffing at its tangle of
branches, its brief sun-flower flashes: 
Language, language, it will sing in
translation: Partner-Star . . . Earth-
Neighbor. Poorer. Open . . . Then: 
Homelike. Homely. Homelandlike.
Heimatlich. And so I take its final
word to heart, the way that most
minuscule creature might take back
to its own earth-burrow a seed, a
scrap of anything either edible or
useful, anything it could translate to
nourishment, and live a little with it.

I have posted several poems by Eamon Grennan before. Such beautiful poetry! Here’s a link to more poems, read by the author.