by
Samantha Walton - Genomics Forum Poet in Residence
While dedicated bloggers across the Genomics Network were
providing detailed accounts of arguments raised and research outlined in panels
and plenary sessions at the EGN Conference 2013 , the
TTAGGG poetry sequence
began to be mapped. In her welcoming address, Catherine Lyall introduced
delegates to the sequence and to the presence of a poet at the conference as an
‘experiment’, a term which I thought summarised the project with particular
accuracy. In my own description of the sequence in the conference programme, I
had urged delegates to get involved in the following (I hoped, persuasive) way:
TTAGGG is an
open source poetry sequence generated through contributions from EGN 13
delegates. Contributions may be segments of verse borrowed (or hacked) from existing poems or prose,
or they may be individual words or fragments of ‘found’ text snipped from the
conference programme or heard in presentations and discussions. You might write
your own poetic responses to ideas generated throughout the conference, or to
the poem itself as it is built and modified online. An experiment in artificial
evolution in the creative commons, the TTAGGG sequence will store complex
information, respond to its environment and be a thing of strange beauty, open
to modification, enhancement, repetition and mutation.
While the poetry I had been writing ‘in residence’ at the
Forum was mostly concerned with epigenetics, I saw the TTAGGG sequence as a way
of testing the notion of the poem as a mode of recording personal emotion expression.
This was in part an attempt to move away from the kind of anecdotal lyricism
that is often the obvious poetic response to ‘difficult’ issues in medicine and
science: it seemed there were far more interesting and relevant ways of
considering how developments in the life sciences could be discussed in poetry
than imagining how they might make a single poetic speaker feel. I’ve been
interested in the representation of medicine in literature for some time, and I
wanted to produce something quite different from the kind of first-person
poetry that frequently comes out of such interchanges – a frustrated and often powerless
voice, an ‘I’ trying to understand how developments may affect my understanding
of my body, myself. It wasn’t that I found such personal insight insignificant,
rather it seemed that to do justice to the unique interface between the life
sciences and social sciences achieved throughout the run of the Genomics
Network, an approach which incorporated a range of perspectives and modes of address
needed to be attempted. By eliciting contributions from delegates, and by
trying to depersonalise my own contributions to the sequence by using found
text, snippets of conversations and presentations, I hoped to sidestep the
responsibility of providing a subjective account of such a diverse programme
and try to achieve the kind of plurality, performative objectivity and
variation of thought and insight that these complex issues deserved.
Getting
policy makers, social scientists, philosophers of bioethics and life science
researchers to write poetry, even in little bits, proved, at first, to be a
challenge. There’s something about poetry … for a start, people think they
can’t do it (make words sound nice etc.), or they feel embarrassed about the image
of Romantic swaggering and detached pondering that the word ‘poetry’ summons
up. Also, in the midst of the EGN conference, when so much demanding critical,
sociological, ethical, scientific, political and philosophical thought is
taking place, I suspect that for some delegates it seemed like too much of a
mental shift to start thinking ‘poetically’, as if thinking poetically could
lead you astray from the serious topics under consideration. I think these reservations,
this division of mental labour, suggests that poetry is often perceived to
something other than critical public discourse. I haven’t conducted my research
yet, but I’d like to postulate that a survey of public attitudes would return
the conclusions that the best poetry consists of moving responses to grand
themes like love and loss, making it something readers withdraw to help clarify
or find voiced their own private troubles and joys. Poetry is often treated like
this – an imaginative and aesthetic escape from public life and social realities,
providing an affective insight into a kind of subjective territory somewhere
between lifeworld and the public sphere. Like much of the ‘health’ themed
poetry I read through the medical humanities, the poetic response to genomics,
confirming to this idea of poetry, might just have to stop at bittersweet and aggrieved
responses to difficult questions and controversial innovations: “Yes, science
may say ‘I’ am my genes, but I know better, I can appreciate beauty and feel love,
you can’t quantify that.”
Although I don’t doubt that
science (
even qualitative analysis)
can’t process
many of the concerns
that are central to various poetic traditions (beauty and love included) I
can’t help but feel that in poetry’s wider readership, the idea that poetry
provides a unique medium not only for responding to, subverting, translating or
resisting important and complex new ideas, but actually working through those
ideas, testing them, and even contributing to their development, seems to have
been, if not forgotten, then perhaps sidelined. This perception seems to run
counter to the many ways that poets have written of and using specialised
discourses of political thought and scientific enquiry: an incredibly general
account might allude to Dante’s interrogations of political practice and faith,
Elizabethan discussions of the body politic, Metaphysical poets’ yoking of love
and religion to scientific and geographic discoveries, the Romantics’ testing
of associationism and the profound engagements with science – from theories of
relativity to Heisenberg’s Uncertainty Principle, Mendelian genetics to
Habermasian theory – found in Modernist and contemporary late-Modernist verse. As
such, the premise of the TTAGGG Sequence was not just to provide a counter
account of the day’s discussions and events – although one delegate did tell me
that following the development of the sequence on Twitter provided something of
a disruptive echo to the more formal discussions taking place in sessions. Instead,
I hoped the fragments, commentaries and contributions might contain questions,
provocations and alternative accounts which could feed into a serious
discussion of the main issues of the conference. A contemporary poet I admire,
Sean Bonney, has spoken of the possibilities of poetry in
this way: “there’s
certain poems that give me an information, an account of a social reality, that
other types of writing don’t. It’s something to do with the speed of
connections through the work, the intensity of the communication: conjunctions
and intensities that put information across in a way that I don’t find anywhere
else.”
I don’t know if the TTAGGG
Sequence achieved this, but part of its ‘experimental’ nature was the acceptance
that failure might lead to a better understanding of how to frame the question,
or what the problem might be. Of the definite successes of the project, I count
highly the enthusiastic and intrigued responses I got from many conference
delegates. It was refreshing for me to explain how my project tried to
participate in the debates of the conference, and to find that though I was
coming from a different epistemological position, there was some common ground,
and much openness for engagement. The actual poetic contributions I got were delightfully
various. Some followed tradition verse structures (the clipped form of the Haiku
appealed to many) while others concentrated on the rhetoric of social science
and policy communication – the repetitions, freewheeling metaphors, strangeness
and contradictions of the language employed in this supposedly objective
discipline. In my own contributions, I was surprised by how quickly I fell into
an imperative register and how the demands of writing on the spot led me to use
the present tense, often utterly eschewing pronouns and prepositions. While
anonymity was guaranteed for delegates who wrote their contributions on cards
and posted them in the ‘TTAGGG Sequencer’ (my gratitude to Steph Wright for
helping me build this complex machine!), additions from private Twitter
accounts constituted more of a public statement, and I’m grateful to those who
spoke out in this way. I don’t think anyone used my password and took up the
offer to sign in to the TTAGGG Twitter account and tweet impersonally from
there, which gives an interesting insight into possible concerns about
invasions of privacy and the dangers of open access in a field where large data
sets and their possible uses is a major point of ethical and legal discussion.
The TTAGGG Sequence will remain
on Twitter and can be found at
#egn13poetry.
However, I am currently working on a number of different ways to manipulate the
sequence. In a nod to a purely scientific approach, I am ordering it in simple
chronological order (fig. A). In honour of traditional poetic formal
constraints, I’m using a programme that organises individual lines into rhyming
couplets (and only removing auto-rhymed lines) (fig. B). Finally, I am
asserting the troublesome aesthetic and subjective authority of the poet by
organising the text into what seems (to me at least) a coherent poem (fig.C). I
hope to perform some of it at
Syndicate,
a new media poetry series I co-host held at Inspace in Edinburgh, on 21
st
May.
What the opportunity to act as
Poet in Residence at the EGN Conference 2013 and the Genomics Forum through
April gave me was the invaluable space to write and also to reflect on
the possible modes of communication between poetry, science and social study. I’ve
always been interested in the critical potential of poetry, so the insights I
have gained ways of approaching and understanding public ethics, cultural
differences and social impact within the social sciences have encouraged me to
reflect on my own practice as a poet and researcher. I am incredibly grateful
for the welcoming and generous response I received at the Forum. I hope the
exciting interactions between art and life science studies fostered here will
continue in many forms in the future.
Cuts from the TTAGGG Sequence
Fig A. Chronological
opening provocation: promise/ peril
what is ... what ... um it's ... a hard question the people legacy
borrowed from the network
globalisation of the subjects we address
challenges around life s/ on the brink/ of major scale
these bugs/ can eat their own waste!
ignore these/ listen to them/ pull out the science, hold it
up/ an heroic vision in messy places
messy like democracy/ sounds like science, golden age/
speaking truth to power
dossier of compromise/ science disappears/ elite compromise
vs. idealised advice/ pure & removed: the science dictates
Fig. B. Rhyming Sequence
Transcription is not fit matter for poesy
TTAGGG poetry sequence is under citizens enquiry
Replication is serious flattery
The enlightenment is not the enemy
Become knowledge, circulate freely
From cutting paper, to CAD molecule, a filmmaker's journey
The deficit model is bankrupt, but has so much currency
If someone mutated my DNA would this then lead my soul
astray
Climate change fury, decimation of mankind, fascinating,
play
Please capture my core, decorate your DNA for your children
My sweetheart took his burnt toast & departed with his
cellular automaton.
Infinitesimal paper & scissors that should play with
hierarchies
Public & private together in this space, between plate
& lip
millions of wells reading
sequences
Of shrug biologists who say PUBLIC but face but a sacral
population's
extended
phenotypic structure fluffed to rubric lattices
Fig. C. Poet as
Structuring Process
We start with an opening provocation,
under the sign of Watt &
ether
shouting out to find a common ground
There weren't too many rules,
only
you have to lock people together
for days to get them to understand one another
's vocabulary
Converting jargon into something
people can understand, that's the
knack
Feedback loops between consumers & providers are fraught
with the sheer density & complexity
of poetry
refusing to cooperate
ignore these, listen to them
pull out the science, hold it up: an heroic vision in messy
places
(messy like democracy)
this is sounding like science speaking truth to power
public understanding
is itself a metaphor
I liked the people
but I have just one question a critical remark
really
What … what would NA12878 do?
what is ... what ... um it's ... a hard question
it’s a hard thing, being a
critical friend: waxing or waning,
meeting for breakfast etc.,
having a life
talking through issues
etcetera.
Imagining the genome
retro futures under review
the myth of science lives on
a new golden age a newly
acceptable Enlightenment continuing
between Adam Smith's tomb at
Canongate Kirk
& the cone on David Hume's
head
Fluid networks permeate the life
science web
philosophers of the future
rebound
reflecting on the sound of
glitchy data
For philosophies read textual
error: ask a stem cell what it is, res public collaboration shaving words off acronyms
the TTAGGG
Cloud: impossibly linear Wordle!
Perfect distribution of emphasis
cut with rigour & balance!
nothing in life expresses © like an MOU/kou/□/xxx
we don't yet have a language that doesn't begin
with an assumption of separateness