“A deep neural network making predictions on live camera input, trying to make sense of what it sees, in context of what it’s seen before. It can see only what it already knows, just like us.
“(not ‘style transfer’!)
“Music: Diamanda Galas – ‘Gloomy Sunday’
“code based on (but more evolved version of)
“model (ie training + inference) based on
“In turn based on
“In turn based on
A poet is somebody who feels, and who expresses his feelings through words.
This may sound easy. It isn’t.
A lot of people think or believe or know they feel — but that’s thinking or believing or knowing; not feeling. And poetry is feeling — not knowing or believing or thinking.
Almost anybody can learn to think or believe or know, but not a single human being can be taught to feel. Why? Because whenever you think or you believe or you know, you’re a lot of other people: but the moment you feel, you’re nobody-but-yourself.
To be nobody-but-yourself — in a world which is doing its best, night and day, to make you everybody else — means to fight the hardest battle which any human being can fight; and never stop fighting.
“There’s only one way a poet can develop his actual writing — apart from self-criticism & continual practice. And that is by reading other poetry aloud — and it doesn’t matter whether he understands it or not (i.e. even if it is in another language.) What matters, above all, is educating the ear”
Reminder: “War of Words: Soldier Poets of the Somme” for which we made the poetry animations, repeated BBC4 9pm Sunday 3rd July in commemoration of #somme100 http://www.bbc.co.uk/programmes/b04pw01r
“There are two basic categories of film directors. One consists of those who seek to imitate the world in which they live, the other of those who seek to create their own world. The second category contains the poets of cinema, Bresson, Dovzenko, Mizoguchi, Bergman, Buñuel and Kurosawa, the cinema’s most important names. The work of these film-makers is difficult to distribute: it reflects their inner aspirations, and this always runs counter to public taste. This does not mean that the film-makers don’t want to be understood by their audience. But rather that they themselves try to pick up on and understand the inner feelings of the audience.”