Alexis' Response

[Larsson, Anna]

#690

Gendlin’s concluding thoughts about new experiences that well-learned knowledge from the past seems pretty apt for our discussions of new media. He seems to be saying that we can tap into our body’s way of knowing, its implying/implicit, in order to invent the appropriate responses to unfamiliar or unheard-of situations. Time seems to factor into felt sense in a way. Perhaps some of the complexities of new media—the details of learning new programs, for instance, coupled with the pressures of deadlines and multiple sources of content vying for attention, might limit one’s ability to tap in to the …… On the other hand, I think his imagery of the poet is appropriate for composing in new media or in any fashion in which a composer practices enabling the felt sense to come forth in the form that it needs. There seems to be almost a mutual exclusion between genre and writing with the felt sense. The felt sense, it seems, decides upon its form, whereas I might be more likely to write within the constraints of generic traits/characteristics. It seems more productive, in an atmosphere of college (not poetry) writing to draft, first, with the …. and then craft it by editing to required form. I wonder if new media affords less of this kind of constraint.
I’ve been wondering, more generally, what our efforts signify on the other end, as the companies that allow us to compose with their products for free or at low cost collect data about us and do whatever else it is that they do.

[Sondra Perl]

#704

I have always found that form suggests itself to me as I compose using felt sense….and the other way around — choosing a form to write it — is less organic. Doable, for sure, just imposed from without.
The surveillance aspects of composing with tools that are ‘given’ to us from companies raises other kinds of important questions.

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