Modalities and Me and You (A Continued Conversation)

findyourmodality

This is interesting … a conversation criss-crossing Twitter and Blogs about writing and composing … it reminds me of a conversation that Anna Smith and I conducted a few years back after we both participated in Digital Writing Month … but now it is with Yin Wah.

I am reading her latest post right now. You read it, too. As a backtrack to the story here, this all began with her asking me on Twitter about which modality I most enjoy writing in, and I responded with a blog post about songwriting, and she responded to that post with her own post, alerting me on Twitter.

We’re zigzagging here in an interesting way … You are invited to join the conversation, or just peep in … We’re having a public conversation in a very connected way.

Dear Yin Wah,

Thank you for responding to my post with a post of your own. (Oh, by the way, I teach sixth grade, not music. I’d love to be a music teacher, though. My two favorite teachers when I was a kid were my elementary and high school music teachers. I don’t know what happened in middle school but he did not have much of an impact on me, apparentely) I appreciated your writing about your own views on creativity and composition, and the ways you struggle with the various modalities. Me, too. All of us, right?

You wrote:

Powerful emotions move me a lot to write some (crappy) poetry sometimes, mostly prose. I used to want to write a play and stage it. I like singing too, but haven’t sung in a choir since I arrived in America. Theatre moves me powerfully. I paint sometimes, not enough. I doodle, not enough. I take photos, and sometimes, I can say I feel that the image is almost incredibly perfect at conveying a mood.

You also wonder:

One question you didn’t answer is a related one. In daily life, you aren’t and can’t be composing songs to sort out ideas, right? So do you think often in words without music in everyday life? Or words often appear somehow with music? Or does a tune often go on in your head?

What an interestingly-phrased question you have there, Yin Wah: So do you think in words without music in everyday life? Yes, of course, words are always pushing inside my head.

Most days, it is lesson plans and the ways I am going to engage my students in writing. How will I explain this? How will I reach that particular student? Or it is the family stuff — who is going to drive which kid where and how in the world will we get there on time, and who is making dinner …

But when I am in the midst of writing a song, or a poem, what I find is that the rhythm and melody becomes this force — silent to others but loud as heck to me — that I am unable to shake. It’s as of the piece of writing has taken on a life of its own and is forcing its way out. I have to listen to it. Maybe that is the “losing yourself” flow that you wondered about, too. It’s the demands of the writing itself on the writer. In my head, I tinker with words choices, with inflection points, with how this would sound with that and what if we added this here and that over there. I could be talking to you, in this moment, and still writing that song or poem in my head.

I realize, in writing that, that I sound like a crazy man, hearing voices and words. I suspect this is where one modality (the explanation in writing of the process of writing) fails the other (the writing of music or even poetry from the artistic sense), or perhaps it is my own limitations as a writer to fully explain how completely immersive the experience becomes.

Years ago, when I was a journalist for a regional newspaper, I used to take my breaks by walking the neighborhoods around the office, using the rhythm of the walk to write lyrics in my head. I’d sing silently to myself, trying out words and phrases. I’d quicken or slow down my pace. The sidewalks became the drum machine. Over and over and over again, I’d work it out, until the song was embedded in my brain. I would never bring a notebook. Then, I would rush back to the office and quickly try to write it all out (and if you see my handwriting from the other post, you know this is a tricky endeavor … my hand does not keep up with my mind … perhaps this is another post another day ….)

You talk about taking photographs, Yin Wah, and you wrote, “I take photos, and sometimes, I can say I feel that the image is almost incredibly perfect at conveying a mood.

I wonder, Yin Wah, how do you know when you have reached that point of thinking, this is the image I had in mind? What is your process like when using image to convey meaning? How do lenses and filters and other technology either help or hinder that creative process?

I look forward to your responses. Thank you for taking the time to engage in this discussion with me.

Peace (from here to there, and everywhere),
Kevin

Words Upon the Wall: A Gift of Song

For everyone who is in all of my various online networks and communities and adventures, I thank you. Here is a song, with some animated words, as my humble thanks for all the inspiration and support you give me throughout the year as I write and explore and learn.

Peace (with words on the wall),
Kevin

New Yorker: Hollywood and Vine

Clockwise from top: the digital stars KingBach, Tyler Oakley, Brittany Furlan, Joey Graceffa, and Cam and Nash.

(ILLUSTRATION BY ALEX WILLIAMSON via New Yorker)

Did anyone else read the article in New Yorker called Hollywood and Vine, about the emergence of viral video sharing and how frightened Hollywood is becoming of where young people are watching video? I was intrigued, and wondering how folks are using the 6 second Vine app (and the slightly longer Instagram video sharing) to create small movies with vast and young audiences, and then I realized: it’s becoming all about audience and profit.

It’s not about art.

Duh.

But, darn it, it should be. Our media tools have opened up some amazing possibilities, and yet, as writer/reporter Tad Friend follows some famous “Viners” around, he notices that every shot for the Vine flick (all 6 seconds of it) is done with hopes of garnering a larger audience of followers and likers, and that is done in hopes of getting commercial ventures (like Taco Bell and others) to pay the Viners for using products in their flicks. The Viners do voluntary product placements. They reach out to corporations. They aim for the paycheck.

Ack. Gag. Repeat (or loop, maybe).

Is this what we are moving into now? Hybrid media making as hybrid advertising? I am not naive. I know businesses look to trends and then dig their claws in. They entice media makers. They sometimes “remix” (in a bad way) close enough to resemble the original, and hope no one is noticing. And I know people need to make a living.

But I can’t help but be dismayed and worried that the shift into this powerful movie-making culture is really about an “all eyes on me now” mentality, where the art that is made is not made for art, but for commercial sensibilities. This is not a knock of the selfie-generation. Plenty of people are making interesting movies that focus the lens on the self. This is a knock against using the self to sell stuff to those who are watching your self.

I’ll end this bloggy diatribe of a middle-aged, middle-class white male  (ie, probably out of the loop, so to speak, with the culture featured in the article) with this belief:

I want my students, and my own children, to see the possibilities of creating media the way I see it: an ocean of possibilities that allow you to express yourself in new and interesting ways, with (yes) a potential audience that can connect and further your art. Let art be the center of what you do.

Is that too much to ask?

Peace (in the wonder),
Kevin

 

Compose/DeCompose

Before you read this, read this.

mmm (sips coffee)

mmm (pets dog)

mmm (eats banana)

Are you back? Did you read it? Man, I love when people like Terry do that … pulling back the curtain on digital composing. As I was reading his piece it occurred to me … we work differently. I was reading as he talked about the lists he makes, the lines he draws out, the resources he has at his finger tips, the thoughtfulness that goes into what he composes (in this case, with Zeega). He’s got a system.

He leads with the brain, and reaches for the heart.

Me?

I start at the heart, and aim for the brain.

What I mean is that when I do what Terry explains he is doing (honoring someone’s blog post by remixing it with digital media via Zeega), I dive in and let the muse take me to where it will in a person’s piece. I’m searching for anchor phrases and trying to find the center of the blog post. I hate to admit it — but I don’t think too much about it. I trust my instincts to find where it is I need to go.

Mostly, it works. I think. And Terry’s process? Oh yeah, it works, too. Both of our methods work, and there are probably a myriad of others out there (what’s yours?) but mostly, they seem a mystery to your audience. Doing as Terry has done — showing what he is thinking about as he composes and the tools he is using to compose what he is thinking about — is a valuable analysis, providing insights to the writer.

Here’s a Zeega I did this week in honor of Jim Groom’s fantastic piece about connected learning called Connected by Design. My composing process?

  • I read Jim’s post quickly once after finding it in my Twitter feed (via #ccourses)
  • Went back, read it again
  • Opened up Zeega
  • Picked phrases and sentences that resonated with me. Interested that he had also chosen some phrases and ideas from others, using those as anchors in his text. So I am anchoring my anchors in his anchors. Recursive anchors?
  • Considered fonts. Spent more time in fonts than anything else. Not sure why. Seemed important. How does shape of letters inform our composition? Not satisfied with fonts but gave up on it after a time.
  • Used the Zeega search engine to find animated gifs as background (struggled here for a stretch … what’s too busy? what’s evocative? what pushes up against the words?) Thought, what about still images? Fell back to animated images. Seems more Zeega-like.
  • Did a search for “connected” on Soundcloud. Replaced one track with another when I noticed the Stereo MCs in the mix. Like the shuffling hiphoppiness of the track. Connects to the freeflowing ideas of Jim’s post (in my mind, anyway).
  • Published Zeega and posted and shared with Connected Courses.

Peace (in decomposing the composition),
Kevin

Stories as Landscapes

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What if a Story were simultaneously hemmed in and also open to roam the  landscape? What if the Story were merely small echoes of some larger narrative? What if  the Story were not one Story, but many Stories?

What if …?

During Digital Writing Month (which took place throughout November), the narrative of how we tell stories often got upended a bit as we explored how technology is changing the shapes of stories themselves, as us, as writers of those stories. How fitting, then, that Simon took the concept of the #25wordstory (a Twitter activity to write a story in 25 words or so) and slotted it into a spreadsheet grid, and then opened up the grids for others to add to.

I dug in yesterday morning with gusto, and quickly began writing all over the place, shifting from grid to grid, extending stories out from single anchor words so that the narrative arcs move in all sorts of directions. Truthfully, these became more like story fragments, little puffs of ideas floating in and among the rest of the stories. We pushed out beyond the margins. Added images and charts. Made links to places outside of the story.

So, what does this all mean for writing in the digital age? I can’t say with any certainty what it all means, to be honest, but there is something there in this kind of transmedia-like storytelling — an associative leap that writers make when both writing on the same page as someone else on the other side of your world and when you carve out stories in unknown territories. A spreadsheet as story? A spreadsheet as a map of the territory? Yes, once you get past the idea of what a tool is designed for you (spreadsheets-numbers) and open up your imagination to what a story needs to thrive.

The spreadsheet has become the Story itself, made up of smaller stories, made up of words and ideas, made up of Us. You come, too.  Write in the grid, but push against the confines of those grids. Simon kickstarted the Story. Now, take the Story to where it needs to go. Take the Story with you. Leave the Story with Us.

Write the Story …

Peace (beyond the territory),
Kevin

 

Writing Digitally: A Comic About Connections

I had this urge to create this comic as a sort of reflection point, drawing in connections that have me pushing my own ideas about what it means to be a writer in this digital age. Think of it as a token of gratitude for all those who are helping me along on this journey. I created the comic (making up representative characters for my friends: Simon, Terry, Anna, and Maha) in Bitstrips for Schools, and then moved it into a flipbook creator.

Read — Digital Writing: An Ongoing Exploration

Peace (in the frame),
Kevin

We Need a Map/We Don’t Need a Map

This will be out of context for most of you. Sorry. Simon and I have been “conversating” on the topic of digital writing, and making writing as we have been going along. This morning/last night, Simon posted a poem inspired by a documentary of writer William Gibson shared by Terry that I referenced in a collaborative conversation document that Simon and I are engaged in.

Got that?

Do you need a map?

I listened and read Simon’s post and then decided that I wanted to wrangle it into new shape. I wanted to create a flow chart/decision tree that captured the essence of Simon’s ideas and also revisited the idea of: Do we really need a map? Are these uncharted territories? How is writing a shifting landscape?

Thus, my flowchart ode to Simon’s words:

A Map for These Territories

Peace (to you),
Kevin
 

Where Arts and Science Intersect

I reviewed Walter Isaacson’s book, The Innovators, the other day. But his last few lines still resonate with me, particularly as I participate in the Digital Writing Month activities.

InnovatorsQuote

THIS is what I think about all the time as I write with technology. It is not the technology or the tool, or the subject area in which I am writing in or writing about, it is the ways in which the digital tools allow me to dance across all of those lines and make art.

You?

Peace (in the think),
Kevin

Where the Conversation Takes Us (Bits and Pieces)

My friend, Simon, and I have been having a “conversation” or a written dialogue that has touched on us as writers and our work in various networked spaces and online communities. We’re moving in a lot of directions, often at once. This conversation began with a post of his that included some dialogue that I remixed, and then … well … that act of remix sparked something that got us writing together.

I’ve taken bits and pieces of that discussion and created this digital journal, or scrapbook, or maybe it is just the jetsam and flotsam of two people writing through what it means to write these days. Words become music become image become poem.

Bits and Pieces

 

Peace (in thanks to Simon),
Kevin