rachaelsullivan + poetry   105

“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
Holly Melgard | Elective Affinities
What if books didn’t take so long to come out? What if you could make them and immediately publish and distribute those books? What if no financial investment, projectable print run, or even fact-checked information were required to put a book into circulation? Books define, so they can’t commit crimes like counterfeit, extortion and perjury. —Oh, wait, they can! It’s called the internet. But that’s the problem, right?
pdf-lit  stein  alt-lit  books  poetry  from delicious
september 2014 by rachaelsullivan
How to Understand Your Computer - The New Yorker
You may not understand, or even want to learn, anything about code, but code is learning more about you every day; it understands you in ways that you don’t quite understand yourself, even as it changes what it understands. It may not be legible to you, but you—you lucrative mine of extractable and transferable data—are legible to it. Code is not like poetry, which makes nothing happen. “Code moves,” as Chandra puts it, in the final pages of his book. “It changes the world.”
blackbox  digitalliteracy  women  criticalcode  poetry  code-debate  programming  from delicious
september 2014 by rachaelsullivan
Reading as information control (Tan Lin interview, 2014)
"literature is an operation. its general aim is to function like the mass media. " "In a world that we increasingly configure or visualize not with but as data, is there much difference between a couplet and a bullet point? ... the edges of a new literary field look a lot like info management systems"
literature  lit2.0  media_history  textuality  conceptual  experimental  poetry  difficult-lit  from delicious
april 2014 by rachaelsullivan
Ashbery on Gertrude Stein
In addition, the almost physical pain with which we strive to accompany the evolving thought of one of James's or Gertrude Stein's characters is perhaps a counterpart of the painful continual projection of the individual into life. As in life, perseverance has its rewards -- moments when we emerge suddenly on a high plateau with a view of the whole distance we have come..... It is for moments like this that one perseveres in this difficult poem, moments which would be less beautiful and meaningful if the rest did not exist, for we have fought side by side with the author in her struggle to achieve them.
stein  ashbery  poetry  modernism  difficult-lit  experimental  from delicious
march 2014 by rachaelsullivan
Vol. 1 Brooklyn | Internet Poetry & the Image Macro: A Conversation with Michael Hessel-Mial
Image macros really hinge on how visual media can be poetry – it’s why you don’t have to have an art degree to do it. Not all of the best macros are going to have a lot of polish, anymore than the best poems are going to be in an ‘elevated diction’ or something.
macros  visual-lit  poetry  alt-lit  internet-culture  roggenbuck  memes  from delicious
march 2014 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
WHY spam? | Jacket2
Just as artist Kurt Schwitters said, “I don't see why (rubbish) couldn’t be used as painting materials just like factory-produced paints,” I don’t see why spam (e-mail spam, blogspam, usenet spam) can’t be used as material for poetry.
alt-lit  lit2.0  poetry  spam  from delicious
september 2013 by rachaelsullivan
You are tired
You are tired, (I think) Of the always puzzle of living and doing; And so am I.
cummings  poetry  from delicious
august 2013 by rachaelsullivan
Cahiers de Corey: Vital Materialisms
complex interaction between things in the poem, things of the poem (words), the thing the poem is, and the reader
whitehead  bennett  materiality  poetry  from delicious
august 2013 by rachaelsullivan
"End your life in front of someone, repeatedly. And whistle while you work." (via @rachaelsullivan)
alt-lit  poetry  blogspot  e-lit  from delicious
july 2013 by rachaelsullivan
People will remember me more for my online presence Than how i interacted with them in real life I frequently share pictures and like status updates In this way i give back to the community And forge unbreakable bonds
alt-lit  facebook  lit2.0  poetry  internet-culture  internet  from delicious
april 2013 by rachaelsullivan
poetry* being spread with guerilla tactics on the internet: poetry* on twitter, email, gchat, amazon book reviews, and live chat customer service windows: poetry* as wikipedia entries, blog comments, trackbacks/pings, google bombs, and youtube video responses: poetry* as facebook statuses, facebook groups, facebook notes, facebook events, facebook pictures, facebook videos, and facebook friend requests
twitter  alt-lit  manifesto  facebook  lit2.0  roggenbuck  poetry  internet-culture  internet  from delicious
april 2013 by rachaelsullivan
People will remember me more for my online presence
Than how i interacted with them in real life
I frequently share pictures and like status updates
In this way i give back to the community
And forge unbreakable bonds
alt-lit  poetry  lit2.0  internet-culture  e-lit 
april 2013 by rachaelsullivan
The Rejection of Closure by Lyn Hejinian
I can only begin a posteriori, by perceiving the world as vast and over­whelming; each moment stands under an enormous vertical and horizontal pressure of information, potent with ambiguity, meaning-full, unfixed, and certainly incomplete. What saves this from becoming a vast undifferentiated mass of data and situation is one’s ability to make distinctions. The open text is one which both acknowledges the vastness of the world and is formally differentiating. We delight in our sensuous involvement with the materials of language, we long to join words to the world—to close the gap between ourselves and things—and we suffer from doubt and anxiety because of our in­ability to do so. Yet the incapacity of language to match the world permits us to distinguish our ideas and ourselves from the world and things in it from each other. The undifferentiated is one mass, the dif­ferentiated is multiple. The (unimaginable) complete text, the text that contains everything, would in fact be a cl...
hejinian  poetics  language-poetry  overload  language  poetry  reality  open  textuality  self  from delicious
april 2013 by rachaelsullivan
code {poems}
Code can speak literature, logic, maths. It contains different layers of abstraction and it links them to the physical world of processors and memory chips. All these resources can contribute in expanding the boundaries of contemporary poetry by using code as a new language. Code to speak about life or death, love or hate. Code meant to be read, not run.
newmedia  proceduracy  programming  codework  lit2.0  poetry  code  criticalcode  from delicious
april 2013 by rachaelsullivan
PANK Magazine
fosters access to emerging and experimental poetry and prose, publishing the brightest and most promising writers for the most adventurous readers. To the end of the road, up country, a far shore, the edge of things, to a place of amalgamation and unplumbed depths, where the known is made and unmade, and where unimagined futures are born, a place inhabited by contradictions, a place of quirk and startling anomaly.
journals  zine  alt-lit  magazines  poetry  from delicious
april 2013 by rachaelsullivan
‘Unlike’: Forms of Refusal in Poetry on the Internet – Pool
poetry interrupts, derails, shifts; it does not reinforce... [what] are the implications of poetry’s choice of continuing established traditions or of refusing them, in light of a new strand of internet-based poetry that has emerged over the past half-decade or so. The possibilities for reversing this situation afforded by the Internet are obvious and probably do not need restating. [...] The power and innovation of this poetry stems from this moment of ambivalence occurring on all levels of its practice – it feels something like a pause, a hesitation hanging in the air after a voice is interrupted. PURPOSE: If we can say that in poetry the genuine tradition is anti-tradition, and that continual overthrowing of entrenched styles is desirable, then it is worth looking at exactly what form of interruption this new strand of poetry proliferating on the internet takes, and how valid it is in it positing itself as alternative writing.
lit2.0  experimental  poetry  internet  conceptual  flarf  uncreativewriting  from delicious
april 2013 by rachaelsullivan
erasure poetics
One of the characteristics of erasure poetics that I’m most drawn to is its method of multiplicity; rather than nullifying or “cancelling out” meanings, erasure only activates other ways of engaged reading. Jen Bervin’s silent contribution, a recipe for erasing powder, speaks to the tangible markings of erasure, its visibility of traces. Taken from Hiscox’s and Sloane’s Fortunes in Formulas for Home, Farm and Workshop (1949), one creates erasures by “rubbing [the erasing powder onto paper] very lightly with a clean linen rag. . . the spot or the writing will disappear at once.” Although erasure is defined in such severe terms—the OED enacts the term, “obliteration”—its performance is one of tracing; not “disappearance” in the sense and completion of vanishing, but in the perpetual enactment of the vanishing. Tracks and remnants. While reading through contributors’ pieces for this issue of Evening Will Come, erasure also became a violent gesture; a map of potential; intervention; an ...
poetics  experimental  poetry  conceptual  erasure  from delicious
april 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
Manfred Mohr | i like this art
CUBIC LIMIT by Manfred Mohr, a film from 1973-74, programmed in Fortran: IV and run on a CDC 6400: cc
criticalcode  programming  art  procedural  randomness  generativemedia  computing_history  poetry  algorithm  fortran  from twitter_favs
april 2013 by rachaelsullivan
Wallace Stevens, "The Poem That Took the Place of a Mountain"
There it was, word for word, The poem that took the place of a mountain.
modernism  stevens  poetry  from delicious
april 2013 by rachaelsullivan
The impassive stones that receive and return so many echoes,
What groans of over-fed or half-starv'd who fall sunstruck or in fits,
What exclamations of women taken suddenly who hurry home and give birth to babes,
What living and buried speech is always vibrating here, what howls restrain'd by decorum,
Arrests of criminals, slights, adulterous offers made, acceptances, rejections with convex lips,
I mind them or the show or resonance of them—I come and I depart.
whitman  nonhuman  america  overload  poetry 
february 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
Poetry Makes You Weird - The Chronicle Review - The Chronicle of Higher Education
Shelley articulates literature's invigorating disorientation: "Poetry lifts the veil from the hidden beauty of the world, and makes familiar objects be as if they were not familiar." But the result of that alienation is not only an aesthetic rush; it is also a moral life. In shocking us into awareness, poetry urges us to relate to the world in fresh ways. The problem is, How do I connect my own mind, relatively familiar, with what is before me, enticingly bizarre?

Shelley answers: Imagine what it's like to be what you perceive. To accomplish that connection requires "a going out of our nature, and an identification of ourselves with the beautiful which exists in thought, action, or person, not our own." I take that to mean that the more distinctly we imagine the plight of another, the more empathy we feel, and the more beauty we appreciate.
shelley  keats  nonhuman  identity  queer  poetry 
december 2012 by rachaelsullivan
Left to a Room | Likestarlings
It is hard to sit alone in a room and write poetry because it is an evocation of the more literal scenario: your self in the room with you, where everything she does to hide her terror from the world is transparent and gleaming and failed.
assemblage  failure  otherness  self  poetry 
december 2012 by rachaelsullivan
Conceptual Poetry - Stein / Cage / Goldsmith
Christian Bok has written:
Some of the modernist notions of the both accidental and the procedual have begun increasingly to inform the current writing, by poets who find inspiration in the principles of conceptual art. Such poets have beun to use stolen texts, random words, forced rules, boring ideas, and ever cyborg tools, in order to mobilize a variety of anti-experessive, anti-discursive stratergies that erase any idiosyncratic demonstration of ‘lyric style’. Such activity has become one of the most radical, if not one the most popular, limit-cases of the avant-garde at the advent of the millennium.
poetry  lyric  experimental  uncreativewriting  conceptual  john-cage  goldsmith  bok  stein 
december 2012 by rachaelsullivan
Paris Review - The Art of Poetry No. 6, William Carlos Williams
The descent beckons

as the ascent beckoned.

Memory is a kind . . .  


. . . of accomplishment.  


A sort of renewal


an initiation, since the spaces it opens are new places.  

You see how I run that line? I was very much excited when I wrote this. I had to do something. I was sitting there with the typewriter in front of me. I was attempting to imitate myself (I think I can't even see it at all) but it didn't come alive to me.
modernism  poetry  typewriter  wcwilliams 
november 2012 by rachaelsullivan
The Poethical Wager
It makes much more sense to conceive of agency in the context of sustained projects, during the course of which many swerves may occur but which one guides with as much responsible awareness as possible. I count on the form of the essay—as urgent and aesthetically aware thought experiment—to undertake a particular kind of inquiry that is neither poetry nor philosophy but a mix of logics, dislogics, intuition, revulsion, wonder.
experimental  poetry  modernism  stein  john-cage 
november 2012 by rachaelsullivan
Weird Poems essay by Jack Anders (Published online 2005 – Guest edited by Gabriel Gudding) « MiPOesias
The situation of poetry itself is very weird today. We live in the generation in which poetry is coming to terms with the internet. Poetic textuality is entering the internet. What the internet means is that more text, more writing, is simultaneously displayed and preserved than at any prior time in human history. There is more writing in existence, saved in the virtually limitless storage capacity of servers in cyberspace, than at any prior time. It is, in one sense, a richness, a plenitude. But there is a mysterious sense of ghostly loss that goes with it. For the presence of so much writing, so much sheer volume of poetry, out there in cyberspace, foregrounds the question for us, for you or me, the individual self, the individual reader: what is it for? How does one use it? What does it mean?
textuality  poetry  lit2.0  overload 
july 2012 by rachaelsullivan
Although Carl Andre’s Minimalist sculptures have been exhibited internationally for well over forty years, his poetry remains less well-known. In fact, it has often been regarded by commentators as merely one of the artist’s subsidiary interests, and thus of only marginal relevance to his sculpture. Yet there is a strong case to be made that his beginnings as a creative artist were just as much based in literature and poetry as they were in the visual and plastic arts. More importantly, we might also suggest that for Andre the intense interrogation of text and words, which is so characteristic of the poetry, is an activity which runs parallel to his work as a sculptor. The two endeavours feed and support one another in important ways.
carlandre  poetry  visual-lit  conceptual 
july 2011 by rachaelsullivan
Poetic Techniques: Chance Operations- Poets.org
"Take a newspaper.Take some scissors.Choose from this paper an article the length you want to make your poem.Cut out the article.Next carefully cut out each of the words that make up this article and put them all in a bag.Shake gently.Next take out each cutting one after the other.Copy conscientiously in the order in which they left the bag.The poem will resemble you.And there you are--an infinitely original author of charming sensibility, even though unappreciated by the vulgar herd."
dada  poetry  avant-garde  authorship 
july 2011 by rachaelsullivan
Poet writes verse in bug's genes and receives reply
His hope is that once embedded into the genetics of D. radiodurans, his biochemical text could continue to reproduce for billions of years - outlasting any other human artefact. Although he has no intention of releasing it into the wild.
He explained his aims. "Nothing we humans make will last more than a few million years," he said.
experimental  bok  poetry  body  genetics 
may 2011 by rachaelsullivan
Poetry's Latest Battleground: Flarf - WSJ
"Flarf is a hip, digital reaction to the kind of boring, genteel poetry" popular with everyday readers, says Marjorie Perloff, a poetry critic and professor emeritus of English at Stanford University. "You used to find it only in alternative spaces, but it has now moved into the art mainstream."
flarf  poetry 
may 2010 by rachaelsullivan
Ron Silliiman on THE MS OF MY KIN by Janet Holmes
"I think we very seldom acknowledge just how little of literature is truly new. Which is why when something does pop up that seems genuinely to expand the field of writing – flarf is the obvious case in point – it spreads like wildfire. What flarf does is take materials from the “real world” & present them in ways that are garishly anti-literary as literature. The controversial process of Google-sculpting is a minor (indeed minuscule) aspect of flarf compared with its critique of The Literary." OK my comment - what if we could start seeing writing as just a new kind of writing rather than in opposition to literature. So instead of non-literature or anti-literature, it would be a new kind of writing, not yet appropriated by (the institution of?) literature.
literature  poetry  flarf  google  lit2.0  canon 
february 2010 by rachaelsullivan
dickinson pinned fragments (ebr6:werner)
Freed from the forty bound fascicles, the accumulated libraries of her poetic production, and whirling confusedly around the absent center of the "book," Dickinson's (un)pinned fragments resemble the distant and disoriented migrants that do not come fully into focus and that no longer constitute a clearly delimitable constellation. [...] Fragments are "small, rickety infinitudes"; they try their chances. De-archivized, they fly to the lyric's scattered ends: the "proceedings of a birdsong," the vibration of poetry freed from the all devices.>23
dickinson  textualstudies  manuscripts  fragments  poetry  writingspaces 
january 2010 by rachaelsullivan
Some Notes on Visual Intentionality in Emily Dickinson
Look carefully at one of Dickinson's manuscripts from the 1870's, the ones Ralph Franklin calls "careless," and you will see what gets lost in any typeface. In typography's mirror of production, words reflect only the shadow of their inception. Try to copy her calligraphy; retrace one sweeping S, a, or C, and you will know how sure her touch was/is. Shapes and letters pun on and play with each other. Messages are delivered by marks. All redundancies are cut away to recover the innocence of the eye.
dickinson  textualstudies  howe  poetry 
january 2010 by rachaelsullivan
Writings by Emily Dickinson: Mutilations
Where there was intelligible utterance, cacophony has been created. In the name of authority and of what is appropriate for official literary and editorial study, that cacophony was for a century by and large ignored, read over with silence even as Emily Dickinson's words had been written over with muffling tactics. Generation after generation of readers, then, reenact the work with scissors, erasers, and razor-sharp knives of the original mutilator and have done so unself-consciously. It is that that seemingly compulsive, unexamined reenactment that is of particular interest to me, and that should be something about which not only every Dickinson editor and read should be conscious but about which every reader should be conscious, for such unexamined reenactments of censorships infuse literary history and thus our sense of the objects that count as appropriately literary and how they count as appropriately literary.
dickinson  textualstudies  marthasmith  poetry 
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
Emily Dickinson’s Correspondences: A Born-Digital Inquiry
Unpublished in book form during her lifetime, the poems of Emily Dickinson were nonetheless shared with those she trusted most—through her letters. This XML-based archive brings together seventy-four poems and letters from Emily’s correspondence with her sister-in-law and primary confidante, Susan Dickinson. Each text is presented with a digitized scan of the holograph manuscript. These images have zoom functionality as well as a special light-box feature that allows users to view and compare constellations of related documents. Users may search by date, genre, manuscript features, and full text. Dating from the 1850s to the end of Dickinson’s life, the work collected here shows all the characteristics of the poet’s mature art.
dickinson  textualstudies  dh  poetry 
january 2010 by rachaelsullivan
dear camera :: issue #2
Zachary Schomburg - two poems and one film-poem
cinepoem  filmpoem  poetry  remediation 
november 2009 by rachaelsullivan
Frank O'Hara provides the poetry of Mad Men
It is no accident that the show’s creator, Matthew Weiner, chose the work of O’Hara to echo his hero’s thoughts. In addition to being the most “interesting, and modern” poet at work during the early 1960s time frame of Mad Men, O’Hara was also a writer whose voice in many ways shares the show’s peculiarly American mixture of jazzy style and quiet melancholy. Like Draper, O’Hara was also a quintessential New York phenomenon, ambitious and charismatic, his life expressing that city’s contradictory energies during an era that many view as its heyday.
poetry  o'hara  madmen  remediation 
november 2009 by rachaelsullivan
An Outside View: Frank O'Hara Scholar David Lehman on Meditations in an Emergency
The first episode of Season 2 finds Don Draper at the doctor's for a physical. After being admonished for drinking and smoking, Don heads to a midtown bar to drink and smoke. Seated next to him is a man reading Frank O'Hara's Meditations in an Emergency. Don remarks, "Makes you feel better about sitting in a bar at lunch. Makes you feel like you're getting something done." To which the man replies, "Yeah, it's all about getting things done."
madmen  o'hara  poetry  television  remediation 
november 2009 by rachaelsullivan
"Upon the Same Occasion" - Wordsworth, William. 1888.
O ye, who patiently explore The wreck of Herculanean lore, 50 What rapture! could ye seize Some Theban fragment, or unroll One precious, tender-hearted, scroll Of pure Simonides. That were, indeed, a genuine birth Of poesy
wordsworth  printculture  poetry 
november 2009 by rachaelsullivan
The Non-Turning of Recent American Poetry
on David Caplan's Questions of Possibility: Contemporary Poetry and Poetic Form (Oxford UP, 2005)
by Michael Theune
october 2009 by rachaelsullivan
Poetry in Motion - NYTimes.com
These days, poetry and commerce are rarely on such good speaking terms. Poetry doesn’t sell well, and poets almost never attain the celebrity that touched Moore, Robert Frost and Carl Sandburg half a century ago. If some Detroit executive got the bright idea to consult a poet for marketing advice today, one rather doubts he’d know whom to call. It’s nice to think that the two groups — poets and carmakers — might find new relevance through collaboration, but history is not encouraging.
poetry  moore  literature  advertising 
october 2009 by rachaelsullivan
Poetry in Motion®
Poetry in Motion® is a program that was developed by the Poetry Society of America and the MTA New York City Transit in 1992 to make bus and subway riding a more pleasurable and enlightening experience. Inspired by a similar program in the London Underground, the program places poem-placards in the spaces usually reserved for advertisements in subway cars and buses. Since its founding 10 years ago, the program has expanded to 14 cities across the country, reaching 13 million people daily.
poetry  literature 
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
Flarf is Dionysus. Conceptual Writing is Apollo : Poetry Magazine
Our immersive digital environment demands new responses from writers. What does it mean to be a poet in the Internet age? These two movements, Flarf and Conceptual Writing, each formed over the past five years, are direct investigations to that end. Identity, for one, is up for grabs. Materiality, too, comes to the fore: the quantity of words seems to have more bearing on a poem than what they mean. Fusing the avant-garde impulses of the last century with the technologies of the present, these strategies propose an expanded field for twenty-first-century poetry. This new writing is not bound exclusively between pages of a book; it continually morphs from printed page to web page, from gallery space to science lab, from social spaces of poetry readings to social spaces of blogs. It is a poetics of flux, celebrating instability and uncertainty.
poetry  flarf  conceptual  experimental  goldsmith  e-lit 
august 2009 by rachaelsullivan
net art : adwords happening
I decided to launch a happening on the web, consisting in a poetry advertisement campaign on Google AdWords . I opened an account for $5 and began to buy some keywords. For each keyword you can write a little ad and, instead of the usual ad, I decided to write little "poems", non-sensical or funny or a bit provocative.
poetry  experimental  e-lit 
august 2009 by rachaelsullivan
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