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Yoko Engorged
This erotically charged generative poem imagines John Lennon and Yoko Ono engaging in endless sexual exploration. This famous couple was controversially open about sexuality, nudity, and used their celebrity to cut through bourgeois prudishness. After Lennon’s death, Yoko Ono continued with her artistic and musical career, with creative practices associated with the Fluxus movement. For example, this poem uses the “audience volunteer(s)” to reference her famous performance piece titled “Cut Piece” in which audience members cut her clothing with scissors until she was naked on stage. This poem is a bold remix of Nick Montfort’s “Taroko Gorge” code, which started as “began with the rather awful titular play on words and just evolved/devolved from there.” (Source: Leonardo Flores, I ♥ E-Poetry)
Meri Alexandra Raita - 23.02.2012 - 14:40
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Sydney's Siberia
Sydney's Siberia is a zoomable poem.
It is not technology making our wires, nodes and swimming data streams, our ever growing networks, beautiful. Instead it is the stories/poetics, the forever coalescing narratives that form the inter/intranet into a vitally compelling mosaic To explore, simply mouse-over/navigate to an appealing square, click and click, read, contemplate connections and repeat. Sydney’s Siberia recreates how networks build exploratory story-scapes through an interactive zooming, clicking interface. Using 121 poetic/story image tiles, the artwork dynamically generates mosaics, infinitely recombining to build new connections/collections based on the users movements.
Meri Alexandra Raita - 03.03.2012 - 18:49
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Requiem
Requiem is an augmented reality poem in which digital imagery and sound is superimposed on a physical object -- in this case the card with the black and white marker. Simply hold the marker up to the webcam to begin experiencing the piece. Click the 'next scene' button to move through the poem.
The architecture for Requiem was created by Andrew Roth, under the direction of Caitlin Fisher, as part of the ongoing work of the Augmented Reality Lab at York University. This work is based on the LGPL license of FLARManager and FLARtoolkit and the source is therefore made available to you under the GPLv3 license. Requiem is part of a larger, much more fragmented work by Caitlin Fisher, "Cardamom of the Dead", a novel in fragments built using a tabletop augmented reality storytelling machine (custom software created in the lab called SnapDragon). Cardamom is a wide-ranging spatial piece about collections, hoarding and the things we save when people die, including this poem written by my father.
(Source: Author's description)
Meri Alexandra Raita - 03.03.2012 - 19:21
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While Chopping Red Peppers
Like the advice given by the speaker’s father, this kinetic and aural poem is all about “presentation and perfect arrangement.” It is about knowing where to cut visual and aural language, images and sound clips, arranging them on the poem’s space to make an impression. Yet while the speaker seems to be learning what her father has to say, one can sense the tension in her as she conforms to a vision of how one presents oneself and in what contexts. The masculinity of the images juxtaposed with the words “a firm handshake, after church” contrast with the more feminine figure we see leaning by the stove or hunched in silhouette. Listen to this poem and you’ll realize that it hovers in that space between tradition and innovation, expressive orality and through new media, conformity and rebellion, and different types of distance and proximity. (Source: Leonardo Flores, I ♥ E-Poetry)
Meri Alexandra Raita - 03.03.2012 - 19:29
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Concatenation
"Concatenation" is part of a three-work set that "provides three different and powerful combinations of text, sound, image, and exploded letters, all of which function to cut up and recombine language using code developed for Concatenation. In Concatenation, the machine of the text assembles poems that deal with the ability of language to enact violence; in When You Reach Kyoto, the text and images engage the city and computation; and in Semtexts, combinations work at the level of syllable and letter."
Source: Electronic Literature Collection
Meri Alexandra Raita - 03.03.2012 - 19:54
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Poetry Goes Intermedia: US-amerikanische Lyrik des 20. und 21. Jahrhunderts aus kultur- und medienwissenschaftlicher Perspektive
Poetry Goes Intermedia: US-amerikanische Lyrik des 20. und 21. Jahrhunderts aus kultur- und medienwissenschaftlicher Perspektive
Jörgen Schäfer - 06.03.2012 - 13:46
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A poetics
This rich collection is far more than an important work of criticism by an extraordinary poet; it is a poetic intervention into criticism. "Artifice of Absorption," a key essay, is written in verse, and its structures and rhythms initiate the reader into the strength and complexity of the argument. In a wild variety of topics, polemic, and styles, Bernstein surveys the current poetry scene and addresses many of the hot issues of poststructuralist literary theory. "Poetics is the continuation of poetry by other means," he writes. What role should poetics play in contemporary culture? Bernstein finds the answer in dissent, not merely in argument but in form--a poetic language that resists being easily absorbed into the conventions of our culture.
Meri Alexandra Raita - 19.03.2012 - 15:02
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The Material of Poetry
Description from the new edition (2012):
Poetry is philosophically interesting, writes Gerald L. Bruns, "when it is innovative not just in its practices, but, before everything else, in its poetics (that is, in its concepts or theories of itself)." In The Material of Poetry, Bruns considers the possibility that anything, under certain conditions, may be made to count as a poem. By spelling out such enabling conditions he gives us an engaging overview of some of the kinds of contemporary poetry that challenge our notions of what language is: sound poetry, visual or concrete poetry, and "found" poetry.
Source: amazon.com
Meri Alexandra Raita - 19.03.2012 - 15:13
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Primal Affective Ground and Digital Poetry
Since the first symbolic scripts emerged, language has always been visual. My own work explores how language's visual can be read both as art and as poetry; how affect is amplified by sound; how generative and combinatorial layouts of text-video-sound open art from linear readings into infinite variations perspectives.
For ELO, I am interested in creating an artist talk that utilizes content derived from two essays on digital poetry written for my comprehensive exams in the summer of 2009. The original essays are entitled: "Affecting Language: interdisciplinary explorations of emotion (new media, neuroscience, phenomenology and poetry)" and "Defining Creative Conduits: mediations on writing in digital media". Since both essays (as take-home exams) were each written over a brief 72 hour span, I look fwd to the opportunity of synthesizing and refining their argument into a presentation format.
(Source: Author proposal)Eric Dean Rasmussen - 20.03.2012 - 12:42
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Correspondences
Correspondences is a translation into sound and image of the timbre of Charles Baudelaire's "Correspondances." The work is not a reading, per se, but it follows the structure of Baudelaire's sonnet closely, pivoting around the white space of the dash in the first tercet. In this experimental video + computer music work the gesture of Baudelaire's poetry serves as a scaffolding for an exploration of mutable time and memory. Correspondences is an invocation to the memory of something read, half-remembered perhaps, connected through a dream logic.
Stig Andreassen - 20.03.2012 - 14:46
