rachaelsullivan + digitalpoetry   43

“We Have Always Been Digital,” the Show I Curated of Interactive Works and Performance of Electronic Lit and Poetry
In We Have Never Been Modern , Bruno Latour argues that modern civilization has secularized rituals of purification to create boundaries between “nature” and “culture,” “human” and “thing,” even as we construct hybrid systems that mix politics, art, technology, and biology. Similarly, language participates in and perpetuates divisions even as it performs “the work of translation.” Electronic literature is uniquely situated to explore and reveal this. Although, like conventional literature, it offer users the opportunity to develop a critical awareness through content, electronic literature also reveals through form and process—by making manifest what Donna Haraway calls, “the translation of the world into a problem of coding”.
elit  latour  digitalart  binaries  digitalpoetry  poetry  nonhuman 
december 2016 by rachaelsullivan
First Stanford code poetry slam reveals the literary side of computer code
Wu noted that when she was typing the code most people didn't know what she was doing. "They were probably confused and curious. But when I executed the poem, the program interpreted the code and they could hear words," she said, adding that her presentation "gave voice to the code." "The code itself had its own synthesized voice, and its own poetics of computer code and singsong spoken word," Wu said. One of the contenders showed a poem that was "misread" by the computer. "There was a bug in his poem, but more interestingly, there was the notion of a correct interpretation which is somewhat unique to computer code. Compared to human language, code generally has few interpretations or, in most cases, just one," Wu said.
code  criticalcode  poetry  codework  digitalpoetry  from delicious
december 2013 by rachaelsullivan
Continuous Paper (by Nick Montfort, 2004)
It also seems clear that in studying such programs, we have to know something about a topic I didn't really delve into: how they actually work — what they do in reponse to input, what rules they follow, functions they evaluate, procedures they carry out. Computer science may not be important for understanding every sort of digital literature — e-texts and link-and-node hypertext novels, for instance, may be usefully understood as something other than computer programs. But when we consider complex computer literary works — the ones that I, at least, find the richest and most interesting — it seems important to not just consider the interface but also reach into the formal workings of these programs, as some scholars and some students in interdisciplinary programs are already beginning to do. Only when we are able to join this sort of understanding of creative computing to an understanding of the material level and the cultural situation will we be able to engage computer literature ...
criticalcode  reading  digitalpoetry  digitaltext  materiality  compsci  interface  montfort  proceduracy  programming  e-lit  from delicious
august 2013 by rachaelsullivan
Object/Poems: Alison Knowles’s Feminist Archite(x)ture by Nicole L. Woods
A resident at Bell Laboratories in New Jersey and an expert on the IBM compiling system known as FORTRAN, Tenney conceived of the workshop as a simple demonstration of the methods in which computers could be used as a tool of artistic practice. Demystifying the complexity of technocratic language and application, Tenney’s goal was rather modest: to show the artists that their previous experimentations with indeterminacy in fact “often resembled the way one programmed information.”26 Stimulated by this creative environment, Knowles began to conceive of a basic poetic structure in which random bits of information fed into a machine could streamline her experiments with chance-derived imagery. The result was “The House of Dust”—a digital poem composed of four separate categories prepared by Knowles in advance and programmed in FORTRAN-IV by Tenney, which was then processed by a mainframe computer at Brooklyn Polytechnic Institute (BPI).
sculpture  digitalpoetry  fortran  programming  knowles  fluxus  1960s  performance  art  experimental  objects  e-lit  from delicious
may 2013 by rachaelsullivan
The Function of Digital Poetry at the Present time by: Nathan Brown (on Hayles)
The stated goal of Hayles’s essay is to compare and contrast “how electronic and print media conceive of poetry as an event rather than an object” (187). “Less an object than an event,“ she writes, “the digital text emerges as a dance between artificial and human intelligences, machine and natural languages, as these evolve together in time." It is those “digital characteristics” of distributed existence, active code, and performative display which “imply that the poem ceases to exist as a self-contained object and instead becomes a process, an event brought into existence when the program runs.” Through these qualities of digital media, “the poem is ‘eventilized,’ made more an event and less a discrete, self-contained object with clear boundaries in space and time” (182, my italics). Indeed, Hayles argues, the foregrounding of process by the digital poem fosters a perspective from which “materiality itself thus comes to be seen as more an event than a preexisting object...
digitalpoetry  performativity  hayles  digitaltext  materiality  code  ontology  objects  print  e-lit  from delicious
may 2013 by rachaelsullivan
The Rematerialization of Poetry: From the Bookbound to the Digital - Lori Emerson - Google Books
In this much-needed account of digital poetry, I first draw from media theorists ranging from Vannevar Bush to George Landow and Mark Poster as well as contemporary critics of electronic literature (such as N. Katherine Hayles, Marjorie Perloff, and Jerome McGann) in order to broadly contextualize the genesis of digital poetry and its relationship to the larger field of electronic literature.
digitalpoetry  poetics  loriemerson  experimental  e-lit  from delicious
may 2013 by rachaelsullivan
A Walkthrough of Total Walkthrough | Jacket2
Crawford is one of the best artists I know of who can speak to the relationship between poetry and algorithm: “I guess in the history of poetry we've always called these 'forms.' For example here's the algorithm for a villanelle: A1bA2 abA1 abA2 abA1 abA2 abA1A2. With something like ‘Link,’ the notion of algorithm seems much more transparent, as they are literally instructions for the computer to follow but if we are to take the definition of an algorithm as basically the rules that govern something, then most of poetry's history is highly algorithmic.”
criticalcode  digitalpoetry  codework  lit2.0  poetry  code  algorithm  from delicious
april 2013 by rachaelsullivan
Aupajo/oulipo · GitHub
Oulipo gives you tools to write constrained stories and poems with Ruby.
digitalpoetry  oulipo  ruby  lit2.0  experimental  procedural 
february 2013 by rachaelsullivan
Kristen Gallagher on Coding Poetry : Harriet Staff : Harriet the Blog : The Poetry Foundation
We continue to be excited by the emergence of smart digital poetries and sophisticated critical discourse to match.
digitalpoetry  codework  lit2.0 
february 2013 by rachaelsullivan
Occupying MLA - ProfHacker - The Chronicle of Higher Education
Was it literature? To our delight, the Twitter aftermath contained solid literary criticism about character, voice, plot, our writing of women, et cetera. After decades of campaigning for electronic literature to be viewed as literature, this thoughtful response feels like a huge victory, and the points are well taken. As the second MLA e-lit exhibit has proven, digitally born poetry and narratives are now an accepted part of literary study. We think netprov is literature — collaborative and participatory literature. We did the best we could.
digitalpoetry  writingspaces  netprov  lit2.0  experimental  socialnetworking  e-lit 
january 2013 by rachaelsullivan
Montfort & Strickland, "Sea and Spar Between" | Jacket2
From Nick Montfort and Stephanie Strickland comes this digital poem, “Sea and Spar Between” — a poetry generator which defines a space of language populated by a number of stanzas comparable to the number of fish in the sea, around 225 trillion. Each stanza is indicated by two coordinates, as with latitude and longitude. They range from 0 : 0 to 14992383 : 14992383.
digitalpoetry  overload  uncreativewriting  strickland  montfort  programming  poetry  experimental  e-lit 
january 2013 by rachaelsullivan
Dan Waber on bpNichol's 'First Screening'
These poems are easily identifiable as being the work of bpNichol, for a range of reasons.

Another contributing factor is the set of techniques that weave through so many of his other explorations: repetition, permutation, self-reflexivity, self-referentiality, the visual page as a compositional space, and the word and the letter as manipulatable aspects of the language.

A third factor is the range of subject matters he addresses, subjects which consistently add up to a thrumming blend of joy offset by alone. We build the tower and it ends in Babel. Sitting down to write you this poem implies that you are absent. Rock, island, wave, shadow.

But, for me, the crucial factor that makes these poems so identifiably bpNichol is the way they are, simultaneously, a study and an exploration of the theoretical and practical limits of the medium at hand.
conceptual  experimental  digitalpoetry  bpnichol  e-lit 
november 2012 by rachaelsullivan
The Code is not the Text (unless it is the Text) - John Cayley
Both Cramer and Hayles recognize a multi-level hierarchy of codes without elaborating or distinguishing them in the course of their discussions. Within the field of networked and programmable media, at the very least, we can acknowledge: machine codes, tokenised codes, low-level languages, high-level languages, scripting languages, macro languages, markup languages, Operating Systems and their scripting language, the Human Computer Interface, the procedural descriptions of software manuals, and a very large number of texts addressed to entirely human concerns.
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The emergent materiality of the signifier - flickering, time-based - creates a new relationship between media and content.
programming  digitalpoetry  hayles  cayley  lit2.0  code  e-lit 
march 2012 by rachaelsullivan
Text Rain
Text Rain is an interactive installation in which participants use the familiar instrument of their bodies, to do what seems magical—to lift and play with falling letters that do not really exist.
text  digitalpoetry  video  body  installation 
august 2011 by rachaelsullivan
The Database, the Interface, and the Hypertext: A Reading of Strickland's V - Jaishree Odin
Reading sonnets in the electronic medium is not about mastering the overall structure of the work and where individual sonnets fit, but it is rather to open oneself up to onscreen display and experience the relationships that it reveals. The electronic version thus is isomorphic with the world and the cosmos itself and the reader's attitude toward it should be the same - to take one sonnet or sonnet fragment at a time and open oneself up to its reality.
strickland  digitalpoetry  ebr 
january 2010 by rachaelsullivan
The Poem and the Network (Fraistat & Jones)
Because poetry, with its enhanced self-consciousness of the physique of texts, expresses itself inextricably through particular interfaces, any editor of poetic texts in the digital medium must be centrally concerned with the interface, with matters of textual display and appearance.
digitalpoetry  textualstudies  dickinson  poetry 
january 2010 by rachaelsullivan
Word Circuits
This is a place for poetry and fiction born to pixels rather than the page--writing that's digital down to its bones.
digitalpoetry  e-lit 
january 2010 by rachaelsullivan
E-poetry: between image and performance -- A cultural analysis
What needs to be examined is the way the domain of poetic writing has been affected or even revolutionized by the global transition towards cyberculture. Digitization is invading all types of poetry today, and this is of course a phenomenon that should be interrogated.
digitalpoetry  e-lit 
december 2009 by rachaelsullivan
Taking A Scroll: Text, Image and the Construction of Meaning in a Digital Panorama, by Roderick Coover
In these panoramic environments, time-based cognition and text-based knowledge acquisition may go hand in hand, or may clash like objects in a collage colliding on field on which, at first glance, they would not seem to belong. The borders between reading and viewing blur in an active process that reveals its construction and expository processes, leading viewers to engage with the director in the process of constructing meaning out of experience. On the one hand, propositions and arguments are developed through montages that provide a route through the material – a director's cut. However, unlike a linear, single channel work, viewers may alternatively navigate through clips, interviews and other materials through parallel or diverging paths to arrive at differing and multidisciplinary perspectives on shared questions of action, experience and knowledge.
coover  digitaltext  digitalpoetry  documentary  imagetext 
november 2009 by rachaelsullivan
Experiencing John Cayley's RiverIsland, by Maria Engberg
In this paper I investigate the emergence of new writing and reading practices under the impact of digital media. Examining Cayley's poetic work riverIsland , I focus on what the poet himself calls “literal morphing.” These transformations of letters constitute, I argue, an important shift in poetic writing whose importance for literary analysis must be acknowledged. I conclude that poetic works in programmable media lead to a rethinking of concepts of surface and depth in relation to writing.
digitalpoetry  cayley 
november 2009 by rachaelsullivan
Digital Poetry: A Look at Generative, Visual, and Interconnected Possibilities in its First Four Decades, by Christopher Funkhouser
In kinetic poetry we encounter a style of work that has not been previously produced. Though a mechanical possibility through the use of film, poetry was not literally put into motion, probably because of a lack of access and the expense of film equipment and processing as well as a set preconception of what film as a medium entailed. Videographic works and devices used to make animated poems have gradually become available during the past two decades. These techniques have galvanized a synthesis of media in the construction of poetry, in which meaning is produced through the recognition of differences between instances in the chain of pre-programmed sequences. Poems in this style thus impart a type of deconstruction through their shifting, activated rhetorical structure.
digitalpoetry  funkhouser  kinetictypography  video 
november 2009 by rachaelsullivan
Jessica Pressman's "The Very Essence of Poetry"
The authors' orchestration of the text's movement controls the act of reading; Flash animation creates its poetic rhythm. The poem exists in a series of flutter and rest, both poetically and visually. Words fade into irreducible blackness and emerge to form lines at a steady pace; visual performance creates poetic meter. A slight pause in the animation produces the effect of an end-stopped line; a longer rest acts as a stanza break or conclusion of a section. Moments of inertia and static text give the reader a chance to breathe with her eyes.
pressman  digitalpoetry  visual  flash 
october 2009 by rachaelsullivan
One Form, Many Letters
Current understanding of the nature of type assumes it to be static, with properties of form and colour. With the introduction of temporal media, typographic artefacts may additionally have properties of behaviour. Temporal media allow type to perform and evolve. ‘Fluid’ (Kac, 1997) type, as it appears in onscreen, is ‘dramatized’ (Helfand, 1997). A single form may present multiple letters through processes of morphing, rotation or deconstruction, and multiple forms may present a single letter through processes of reorganisation. Analysis of such artefacts not only requires us to re-evaluate our understanding of the nature of type, but also to reassess the notion that a single letterform may only have a single identity. Referencing examples of typographic performance, this paper will discuss the nature of fluid type, and propose that current typographic theory may need
to adapt in order to respond to the introduction of temporal media.
typography  digitalpoetry 
october 2009 by rachaelsullivan
Poems by Kenneth Goldsmith and John Cayley—in their hybridization of humanand machine, artist and computer-programmer—demand that we extend the boundaries of
the discussion to include the critical debates around virtuality, cyberculture, cybernetics, the cyborg. And while all of these debates are more or less engaged with breaking down, extending, re-writing conventional notions of the body, they can also be said to be symptomatic of the post liberal-humanist subject: the posthuman. According to Katherine Hayles this is a subject defined by its coupling with machines in such a way that distributes cognition between human and machine and thereby frames matters of epistemology and ontology in terms of reflexivity and emergence. But with the exception of Hayles’ widely regarded work, few critics have attempted to substantially bring the ever-growing body of digital writing, especially poetry, into dialogue with the posthuman, arguably the very definition of our current cultural moment.
posthuman  loriemerson  manovich  hayles  digitalpoetry  filetype:pdf  media:document 
october 2009 by rachaelsullivan
Rhetorics of Surface and Depth in Digital Poetry
Digital work has the potential to engage with depth and surface in a highly “material” way, via the interaction of text and the visual field: text can approach and recede, appear in front and behind other text, and appear to move in three dimensions. The illusion of complex surfaces and multiple strata of visual and linguistic signs is a specific feature of the new medium, which many digital poets exploit creatively. Digital work has the capacity to explore space as a potentially semantic element and to engage with depth and surface in a more explicit and complex way than poetry on the page.
...the monitor becomes an unstable, volatile territory and the latent and repressed danger of a breakdown becomes manifest. This
sea of signs is strangely disquieting. [it] thus serves as a powerful and disconcerting reminder of the thin threshold between being in and losing control over the technology we are using.
digitalpoetry  textuality  materiality  semantics  filetype:pdf  media:document 
october 2009 by rachaelsullivan
Poetry Visualized
Visual poetry is poetry that combines motion graphics, film or video, music and of course, poetry. This offers an exciting format where poets, motion graphic artists, actors and other artists can reach out to the public and show off their skills and talents. Naturally, PoetryVisualized.com allows our members to show off their creations. But we have plans that go beyond merely being an online collection of fantastic short films. Our first project will be a motion picture of the visual poetry world where we will take the best short films and put them together, with commentary, as a full length feature film. That film will be submitted to the major film festivals, sold on our web site and distributed world wide. All income from that film will be divided up among the contributing artists and PoetryVisualized.com.
poetry  cinema  cinepoem  digitalpoetry  visual-lit 
october 2009 by rachaelsullivan
People think of going forward in reading poetry, but the very turning of the line is in constant conflict with that goal, as are the triple realms contending for meaning. Neither poetry nor code proceeds by forging ahead.
code  digitalpoetry  strickland 
september 2009 by rachaelsullivan

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