<p>This piece is a skill-share which aims to provide architecture to one of poetry’s oldest and most elusive techniques: ekphrasis. A secondary purpose is to offer contemporary scholars, creative writers, and artists methods through which to explore ekphrastic meditation upon premodern art. I identify ‘anti-ekphrasis’ as a new model of meaning-making that indicts the paradigm of ekphrastic poems as ornate and legible. I turn to American painter Cy Twombly as a multimedia guide to argue for the illegibility of artworks informed by premodernity. After reading this skill-share, readers will reconsider the act of looking in academic environments, recognizing it as a powerful tool in classroom settings where attention is all too often commodified. The desired audience of this piece is neither squarely poet nor premodernist: I speak to the manifold and hybrid writers, researchers, teachers, and community members who elliptically touch the premodern—the medievalist-ceramicist, the classicist-TikToker, the librarian-poet, the three-headed dog that is the contemporary hybrid thinker.</p>