Emocracy and Expressive Verse
Emocracy is a variant of Score Voting. The differences are thus:
1) It has as many negative ratings as positive ones (hence the name "Emocracy", which is Emotions + Democracy: one can like as well as dislike; one may want to bury one candidate as much as one may want to promote his favourite). It means that the range in Score Voting is moved halfway down, towards the negative. 0~10 becomes -5~+5. Thus, to describe Emocracy as 0~2 is inaccurate, first because it should be -1~+1. Although it makes no difference mathematically, it does make a difference in what the voter perceives. Secondly, unlike what the current implementation of Emocracy on this site might suggest, Emocracy is not restricted to 3 levels. It can also be -5~+5, -10~+10, etc.
2) Emocracy has the added option "I don't know"1
The same thing that guides her is what guides expressive verse. And just like Duncan’s movements which have a potency and power to them, expressive verse aims to achieve the same. Not only is beauty an objective but also intensity!
If I read a book and it makes my whole body so cold no fire ever can warm me, I know that is poetry. If I feel physically as if the top of my head were taken off, I know that is poetry. These are the only ways I know it. Is there any other way?
The same is true for expressive verse. In fact, it may be the only thing that is true for expressive verse. Whether something poetry is not defined by metre, rhythm, or rhyme. It’s defined by expression. Many of Dickinson’s poems make me feel as if a large stack of bricks has slammed into my core. The same holds true for when I watch Martyrs by Pascal Laugier, who himself said he tried to infuse something into Martyrs that was largely missing in film: emotion. That’s one of the aims of expressive verse, and that’s why I also like to call it express verse.
‘Express verse’ is a good short-hand because the message is often delivered quickly; instantaneously; almost psychically; and with “high velocity” impact for those who have felt the same way for a long time but were yet to find any piece of work to capture the experience. It’s interesting how when I connect to one of Dickinson’s poems, the whole poem makes sense—even the parts that logically and grammatically don’t make sense make sense. I think something similar might exist for express/expressive verse. In general, people get it quickly or they don’t—the same way people could quickly tell if they liked Duncan’s dancing.