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1. “The Dead Must be Killed Once Again”: Plagiotropia as Critical Literary Practice

   Húmus by Herberto Helder (1967) is recognized for its direct quotation from Raul Brandão’s 1921 poem of the same name. However, Helder’s work is more than the simple intertextual suggestion of a text: it transforms it, putting into motion its latent power, reviving it. As may be read in the epigraph of this work, the "words, sentences, fragments, images" from Húmus are used by Helder in order to achieve, through re-writing, a full reading of the text by Brandão. Such reading multiplies and transforms the meanings that are crystalized in the work by Brandão, thus articulating the scope the poet refers: "freedoms, freedom."

   Alvaro Seica - 28.11.2013 - 15:04

2. Cybernetic Serendipity

   Collection of computer-generated texts based on an exhibition of cybernetic art curated by Jasia Reichardt, shown at the Institute of Contemporary Arts, London in 1968.

   Scott Rettberg - 21.08.2014 - 11:39

3. Beyond the Googlization of Literature: Writing Other Networks

   It's true, poets have been experimenting with producing writing (or simply writing, just writing of a sort not familiar to us - writing as input and writing as choosing) with the aid of digital computer algorithms since Max Bense and Theo Lutz first experimented with computer-generated writing in 1959. What is new and particular to the 21st century literary landscape is a revived interest in the underlying workings of algorithms, not just a concern with the surface-level effects and results that characterized much of the fascination in the 1970s and 1980s with computer-generated writing. With the ever-increasing power of algorithms, especially search engine algorithms that attempt not just to "know" us but to in fact anticipate and so shape our every desire, our passive acceptance of these algorithms necessarily means we cannot have any sense of the shape and scope of how they determine our access to information, let alone shape our sense of self which is increasingly driven by autocomplete, autocorrect, automata.

   Daniela Ørvik - 17.02.2015 - 15:47

4. 'The frame of the sparkling graphics': the window and the screen in contemporary Irish poetry

   This conference paper discusses the visual tropes of the window and the screen in the work of Derek Mahon and Alan Gillis. More specifically, the focus is on how the architectural window and the digital screen operate as framing devices in their works, and how they enable the poets to interrogate the interrelationship between poetry as verbal discourse, and visual representation. The shift from the architectural window to a digital window on the screen also marks a shift in understanding questions of viewpoint and perspective in contemporary culture.

   Anne Karhio - 05.03.2015 - 18:01

5. Taper #5: Pent Up

   Each issue of Taper is edited by a collective. Editing and production is done in coordination with The Trope Tank at MIT, a laboratory directed by Bad Quarto proprietor and publisher Nick Montfort. Taper is not officially associated with MIT or hosted on an MIT server, however.

   For the fifth issue, the editorial collective consisted of Kyle Booten, Angela Chang, Leonardo Flores, Judy Heflin, and Milton Läufer. 

   A constraint was established: the core part of each poem—the HTML on the page after the header—could be no more than a tiny 2KB (2048 bytes). Members of the editorial collective recused themselves from discussion of their own submissions. The collective works independently of the publisher to make selections. We thank Sebastian Bartlett for his help in managing the template.

   The work in this fifth issue is written in HTML5, using ES6. It has been tested and found to work properly on current Firefox and Chrome/Chromium browsers across current platforms, as well as on Mac OS X Safari; everything does not work on Edge and iOS Safari.

   Scott Rettberg - 16.10.2020 - 16:10

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