On Mastodon

screenshot of my Mastodon profile

I joined Mastodon this week, sensing like a lot of people that Twitter was in a death spiral. Here’s my profile.

I’d noticed about a week ago that the official Twitter app for iOS removed the functionality that let me toggle between different accounts. Which made me reflect further on how dependent I’ve become on a platform I have never really liked, and only went along with because I could never get more than a handful of people to try open-source alternatives back in the day. I chose the instance I did because of their long history with the Fediverse, as it’s called. (Because you don’t even need to be on Mastodon to interact with users there. Other options abound.)

For those who find the whole concept of a federated social media experience hard to grasp, think about email, and how you can communicate with someone on Yahoo Mail if you’re on Gmail or whatever. That’s how social media was supposed to be from the beginning. I once had a long conversation with the life partner of Twitter’s original lead developer. He left when they turned their back on the then-mostly-theoretical concept of federation with other microblogging platforms.

Somewhat to my own surprise I find I’m actually enjoying Mastodon, because the UI and the way everything works is so well thought-out, it makes the case against corporate overlordship better than any manifesto could.

I certainly understand the reluctance to learn how to use and navigate a new social media network, especially since it isn’t just one site, and you have to go to some extra effort to find interesting people to follow, and to reconnect with contacts from other social media platforms. I felt this reluctance so strongly, I avoided joining Mastodon for years. But without the distorting influence of the need to make money—each Mastodon instance apparently gets by on regular donations from users who can afford it—it’s possible to have a fully social social media platform, actually serving people in our intertwined communities, not investors. There’s no algorithm, y’all!

And one of the cool effects of that is the standardization of best practices, such as content warnings and descriptions of images for the visually impaired. It’s so easy, I’ve been converted from indifference verging on hostility to the very concept of content warnings to full acceptance, because when it’s just a routine click of a button to add a content description, why would you not, if you know (for example) that some people prefer not to see politics in their feed. So more sensitive or traumatized users have the option of minimizing posts by default, so that if there’s anything with a content warning/description, they’ll just see that description, and can decide whether or not to click to expand, while those of us who are coarse, insensitive bastards can opt to see full content every time. Problem more or less solved.

I’ve taken to using content warnings for poetry too, because a poem that doesn’t challenge people in some way isn’t much of a poem in my opinion. Plus I have friends who just don’t like or get poetry, and that’s perfectly fine. If I do post a poem with rape allusions or something like that, I’ll endeavor to post additional, more explicit CWs… as long as they don’t mute the impact in some way. But having that as a built-in feature makes it much more likely that I’ll be mindful of it. Well done, tech geeks. Long live open source software!

A new direction for Woodrat Photohaiku

My long-running photo blog has gone through a couple of re-inventions over the years as my interests have shifted. On New Year’s Day, I decided it was time to re-invent it once again, and start featuring photo haiga (A.K.A. shahai), since I’d already starting incorporating haiku text into images on Instagram. In a way, this isn’t new territory for me: back in 2008-2009 I edited a short-lived journal called Postal Poems that tried (and mostly failed) to get poets to create haiga-like images incorporating text (mostly micropoetry, but not necessarily haiku). And I’ve been incorporating haiku into videopoems for years, usually as text-on-screen.

The difference now is I have a somewhat more sophisticated idea of what haiku is or could be. For decades I was hampered by too much formal education, convinced I knew what haiku was by scattershot reading of mostly mediocre translations in the course of obtaining a comp lit degree focusing on Japanese and Chinese, which included a year abroad in the Kansai region of Japan. The latter did leave me with a healthy aversion toward Japonisme in all its manifestations, important to my growing realization that preserving the possibility of at least occasional originality in a tradition-bound art-form paradoxically requires an openness to the avant garde. As I noted this morning in a tweet reply to the Norway-based poet and blogger Ren Powell, my first real introduction to so-called gendai (modern) haiku was the Haikunaut issue of Cordite in 2009. From there I discovered Roadrunner/R’r journal and the 2011 anthology Haiku 21 from Modern Haiku journal, and it was off to the races.

But for some reason I persisted in keeping text off of the photos at Woodrat Photohaiku, even as the accompanying haiku themselves slowly improved. I’m nothing if not a creature of habit. I think it was mostly the cumulative effect of seeing other haijin posting photo haiga on social media, especially Instagram, that finally broke down my resistance. And I discovered that a photo editing app I’d been using for several years, Snapseed, had an easy-to-use text tool, allowing me to make and post haiga directly from my camera (allegedly also a phone). I could even copy and paste the text directly from the Notes app, a nearly frictionless haiga composition process for the digital age.

I’ll still be using what I deem to be the first line/semantic unit of the haiku as a post title, with the remainder of the text below the image, for continuity’s sake with the archive and to help those using assistive technology. But I’ve also begun appending additional thoughts to some of the posts, which represents another radical change for the blog: process notes, interesting out-takes, notes on potentially obscure details of the content, etc. And having text both beside as well as within the image allows me to present it in contrasting ways, which I like because sometimes a haiku can have quite different effects depending on how it’s arranged, in one line or several, and I feel readers should be able to choose which they like the best.

This may seem like much ado about nothing, considering how few actual readers the blog has, but to me, its small readership is one of the things I most enjoy about it. It makes it feel more like a sandbox where i can indulge my inner child and don’t have to take things too seriously. For a writer, that’s one of the real, unsung pleasures of blogging in general.

Two new pages for Pandemic Season, Pepys erasure project

still from the haibun video Public Relations

This feels like one of those essays that school teachers used to require on the first day back: What Did I Do On Summer Vacation? Because I’ve been on vacation from this blog since last spring, it seems. Damn.

Well, mainly I moped, like everyone else in this goddamned covidious shitstorm. But I did make a lot of videopoems, as well as continue to plug along with (almost) daily erasure poems. So today I was all set to create a new page for the Videopoetry section of the website on my just-concluded (I think) video haibun collection Pandemic Season, only to find that I’d already done so back in July. Oops. Since it embeds the whole Vimeo showcase for the collection, which is 24 videopoems long, that will do for now. Currently I’m giving it a rest so I can go back and look at it with fresh eyes in a couple of months, and decide whether I want to mess with any of the films, make a book out of them, or just let it be. For now, the series archive at Via Negativa is probably a better way to engage with the collection, since there’s a transcript of each as well as extensive process notes.

I didn’t get to be a complete slacker today, though. Seven years after starting the Pepys Diary erasure project at VN, it finally occurred to me that maybe that deserved its own page here. Among other things, it gave me an excuse to highlight a few videopoems made with texts from the project. Check it out.

(I initially created a project page, experimenting with a custom content type designed for use in a portfolio-style site, because I still tell myself that one day I’m going to re-design this website to foreground a portfolio of projects, rather than continuing to pigeon-hole work by medium, print vs. video. But that seems unlikely to happen any time soon. Bizarrely, though, the project page auto-posted to Twitter, while the page-page did not. All of which is way more geekiness than either reader of this blog probably cares about. Sorry.)

Brewing, writing, thinking

There’s no logical reason why my homebrew recipes should clutter up a site otherwise focused on my writing; I just can’t handle the thought of starting yet another blog. But it occurred to me the other day, while I was sparging a bunch of malt with my jerry-rigged lauter tun for yet another strange brew (a sort of Belgian dubbel with Mexican piloncillo sugar and tamarind pods), that actually I’ve approached both avocations in a similar manner. For one thing, I’m profoundly out of step with most other practitioners of each craft, and in somewhat similar ways. And while I certainly wouldn’t consider myself a master of either brewing or poetry, I’ve followed a slow-learning approach to both, focusing as much on the process as on the product, to the almost complete neglect of monetization or careerism. Read the rest of this post at my homebrewing site, Herbal Brewing.