viz.

Screen shot, Susan B.A. Somers-Willett, Wild Animals I Have Known pamplisest via Landmarks

Last week I posted Part I of my interview with Susan Somers-Willett. Today I'm excited to bring you Part II in which we continue to talk digital poetics and new uses of ekphrasis. Susan holds forth on other projects, including her work with UT's Landmarks prorgram and the Blanton Museum's poetry project. We also discuss her upcoming work that responds simultaneously to the recent Abu Ghraib photographs and early 20th-century lynching photographs.

  via "Women of Troy," In Verse on vimeo

A few months ago, I happily stumbled upon and blogged about poet, scholar, and UT alum Susan B.A. Somers-Willett’s docu-poetry project “Women of Troy.” Recently,  Susan kindly took a break from her busy semester of writing and teaching to have coffee with me. We talked about multimedia poetics, issues of representation, the complications of collaboration, and the role of technology in the poetry classroom. Because the transcript of our interview is rather long, you can read Part I of our conversation below. I'll post the second installment next week. After that you'll also be able to find the interview in its entirety on our "Views" page.

Image credit: My video "reading" of Donald Revell's "Election Year"

Last semester I began to experiment with various programs, particularly iMovie, as I think about how I'd make digital technology part of a course that focuses on poetry. In a brief post, I included a model iMovie file, and speculated as to how such an exercise might be used. Today, as we wrap up National Poetry Month, I'm posting a lesson plan that articulates the possibilities for this exercise more directly.  

Screenshot, "Pep Boys, 2009,"  Dark Stores, Brian Ulrich

Brian Ulrich's work focuses on the range of our experience with scenes of consumer culture. In one series, aptly titled Retail, Ulrich documents the familiar settings of bustling grocery stores, well-lit mega-chains including Target, and crowded malls. That series is populated with all types of American consumers. However, in a study in contrast, Ulrich has put together a series of photographs of deserted malls, vacant storefronts, and boarded-up restaurants entitled Dark Stores.

"One Day Without Shoes 2011," TOMS via Youtube

Today TOMS shoes conducted its second annual One Day Without Shoes campaign in which anyone (wherever in the privileged world) was encouraged to go without sandals, boots, sneakers, etc. The intention behind the event is to "raise awareness" for what it's like for the millions in less developed countries who daily go without adequate protection for their feet and, as a result, are at risk for serious infections. At the risk of sounding like a cynical jerk, I'm going to raise some questions about how the campaign attracts an audience through compelling visual tools and ultimately how it benefits those for whom it claims to be raising awareness.

Image credit: Screenshot, "Who's Afraid of Ai Weiwei?" Frontline

After last week's posts examining representations of the aftermath of the events in Japan, I was especially taken by moving and controversial images from last night's Frontline piece tonight on Chinese artist Ai Weiwei dealing with the aftermath of the 2008 earthquake that devastated the Sichuan province.

Image Credit: Screenshot, Our Friend the Atom, via YouTube

Megan's and Cate's recent posts have highlighted multiple visual representations of the current crisis in Japan.  Concurrently, there's a lot of talk these days about the future of nuclear power in the U.S.--what we should do about our existing nuclear power plants, whether nuclear energy is the way to go, what we might do in the face of a nuclear catastrophe. These issues have been rather dormant in recent years. However, as we look ahead in considering our options, it's also worth looking back at the rhetoric that made us somewhat comfortable with nuclear power.

Image Credit: screenshot of Visual Budget, kickstarter.com

Visualizations are a necessary part of the way the media interprets government spending for the average viewer. Those of us who are not math whizzes, who may have trouble keeping our own accounts, find a simple graph or pie chart to be a useful aid. However, those representations often present an oversimplified view.  Enter Visual Budget, a "cutting-edge data-visualization web site" that attempts to explain the nuances of government spending to the common citizen.

Image Credit: Screenshot of Smithsonian Wild

Many of us are suckers for cute animal videos, trips to the aquarium, and documentaries featuring David Attenborough. We can now add to the list of ways to watch animals this new web feature offered by the Smithsonian, which gives us "a glimpse into an animal world that is rarely seen by anyone." The pictures are taken with secret cameras, promising the viewer a more authentic experience, one with minimal human interaction.

Image credit: screenshot via YouTube

Last week I posted a link to the much discussed Great Gatsby video game that's making the rounds. It's not like me to turn my attention to video games for two weeks in a row--no offense to anyone--but this story on NPR's "Morning Edition" caught my attention. This summer, the French gaming company Ubisoft will release a game they call Call of Juarez: The Cartel. As you might expect, the game is generating a lot of controversy due to the real-life situation of the border city. This news comes on the heels of the bloodiest weekend in recent memory, in which 53 people were killed (as reported by The Houston Chronicle).