Notebook of Sand

• Recent Publications
• Recent Projects
• Conferences & Speaking
"Comparing Spatial Hypertext Collections"
  ACM Hypertext '09
"Archiving and Sharing Your Tinderbox"
  Tinderbox Weekend London '09
"The Electronic Nature of Future Literatures"
  Literary Studies Now, Apr '09
"The World University Project"
  St. John's Col. Cambridge, Feb '09
"Ethical Explanations,"
  The New Knowledge Forge, Jun '08
Lecture, Cambridge University
  Tragedy in E-Lit, Nov '07
Hypertext '07: Tragedy in E-Lit
Host for Tinderbox Cambridge '07
Keynote: Dickinson State Uni Conf
Upper Midwest NCHC'07: Speaker
eNarrative 6: Creative Nonfiction
HT'05: "Philadelphia Fullerine"
  Nelson award winning paper
NCHC '05:
 Nurturing Independent Scholarship
Riddick Practicum:
  Building Meeting Good Will
NCHC '04:
  Philadelphia Fullerine
  Lecture on American Studies
WWW@10: Nonfiction on the Web
NCHC '03: Parliamentary Procedure
ELL '03 -- Gawain Superstar
• (a)Musing (ad)Dictions:

Ideas. Tools. Art. Build --not buy. What works, what doesn't. Enjoy new media and software aesthetics at Tekka.

Theodore Gray (The Magic Black Box)

Faith, Life, Art, Academics. Sermons from my family away from home: Eden Chapel!

My other home: The Cambridge Union Society (in 2007, I designed our [Fresher's Guide])

The Economist daily news analysis

Global Higher Ed blog

• Hypertext/Writing

Writing the Living Web

Chief Scientist of Eastgate Systems, hypertext expert Mark Bernstein. (Electronic) Literature, cooking, art, etc.

Fabulous game reviews at playthisthing.

• Stats

Chapter I: Born. Lived. Died.

There is a Chapter II.

Locale: Lancaster County Pa, USA

Lineage: Guatemala

Religion: My faith is the primary focus of my life, influencing each part of me. I have been forgiven, cleansed, and empowered by Jesus Christ. Without him, I am a very thoughtful, competent idiot. With him, I am all I need to be, all I could ever hope for. I oppose institutional religious stagnation, but getting together with others is a good idea. God is real. Jesus Christ is his Son, and the Bible is true. Faith is not human effort. It's human choice. I try to be the most listening, understanding, and generous person I can.

Interests: Anything I can learn. Training and experience in new media, computer science, anglophone literature, education, parliamentary debate, democratic procedure, sculpture, and trumpet performance. Next: applied & computational linguistics, probably.

Education: Private school K-3. Home educated 4-12. Graduated Summa Cum Laude from Elizabethtown College in Jan 2006. As the 2006 Davies-Jackson Scholar, I studied English at St. John's College, Cambridge University from 2006 - 2008.

Memberships: Eden Baptist, Cambridge Union Society, ACM, AIP, GPA.

Alum of the Elizabethtown College Honors Program, sponsored by the Hershey Company.

Emphasis and Metre
Thursday, 5 Apr 2007 :-:

Patterns in poetry are often established in order to break them-- in the same poem. For example, in Richard, Duke of York, Shakespeare uses this to good effect:

So many hours must I tend my flock,
So many hours must I take my rest,
So many hours must I contemplate,
So many hours must I sport myself,
So many days my ewes have been with young,
So many weeks ere the poor fools will ean,
So many years ere I shall shear the fleece.
So minutes, hours days, weeks, months, and years,
Passed over to the end they were created,
Would bring white hairs unto a quiet grave

Here, Shakespeare does more than just set up a pattern with "so many", but also with a progression of time, from minutes to hour to hours to days, etc... When it returns to minutes, this is unexpected, and the line is highlighted.

This can also be done in metre. A poem with iambic metre might go like this:

my dear,
my sweet Britannia
is my dear sweet homeland.

Here, the first two lines establish a pattern of iambic rhythm. In the third line, this serves to highlight the word "my" over the word "dear", when the stresses were the other way around in the first line.

But sometimes, a poet does something unusual, in which our tendency to read the line might actually go against the tendencies both of the metre and the natural rhythm of the phrase. Consider, for example, this excerpt from "An Irish Airman Foresees His Death," by Yeats...

Those that I fight I do not hate,
Those that I guard I do not love;
My country is Kiltartan Cross,
My countrymen Kiltartan's poor,

The first two lines begin with stressed syllables, which creates a tension in those lines, since the poem begins somewhat with a solid iambic tetrameter. But what about the second two lines of this excerpt? Should the emphasis be placed on "my" our on "country" ? If you follow the pattern which Yeats established in the first two lines, the emphasis should fall on "my". But if you follow the tendencies of the [English] Language, the emphasis should be on Country. This is precisely the dilemma which Yeats is highlighting in the poem; to the discerning reader, the same dilemma is present in the language, in the metre itself as in the plain statements of the poem.