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Biopoetry
Biopoetry is a new poetic form invented by Eduardo Kac in 1999 through “Genesis,” in which Kac created an “artist’s gene,” a synthetic gene that he translating a sentence from the biblical book of his artwork produced by and then Biopoetry Eduardo Kac Biopoetry is a new poetic form invented by Eduardo Kac in 1999 through “Genesis,” in which Kac created an “artist’s gene,” a synthetic gene that he translating a sentence from the biblical book of Genesis into Morse code converting the Morse code into DNA base pairs according to a conversion principle specially developed by the artist for this work. The sentence reads, “Let man have dominion over the fish fi of the sea, and over the fowl of the air, and over every living thing that moves upon the earth.” It was chosen for what it implies about the dubious notion of divinely sanctioned humanity’s supremacy over nature. The Genesis gene was incorporated into bacteria, which were shown in the gallery. Participants on the web could turn on an ultraviolet light in the gallery, causing real, biological mutations in the bacteria.
Sumeya Hassan - 06.05.2015 - 19:33
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"'Till Algebra is Easier —': Elements of Computation in the Poems of Emily Dickinson
In this paper, I present close readings of a selection of Emily Dickinson’s poems that I propose might be best explained through an understanding of her awareness of the current scientific topics of the time. These include, for example, the publication of Darwin’s Origin of Species in 1859, Faraday’s and Maxwell’s numerous investigations into electromagnetism in the early to mid 1800s, and the production of Babbage’s Difference Engine in 1847. Specifically, in regards to Babbage’s computing machine, I demonstrate a connection between some of the innovations first formulated by the mathematician and proto-programmer Ada Lovelace in 1842 and 1843, including concepts of looping, modeling, and isomorphism, and Dickinson’s poems, written more than one decade later, which include references to cycles, recursion, and branching. Additionally, I show that there are clear stylistic similarities between Lovelace’s philosophical inquiries into the nascent discipline of computation and some of Dickinson’s poems that might be said to contain algorithmic structures or images.
Hannah Ackermans - 14.11.2015 - 16:02
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Abandoned and Recycled Electronic Literature: Jean-Pierre Balpe’s La Disparition du Général Proust
his presentation addresses the fate of 1990s pioneering programs of electronic literature during the 2000s. What happened to 1990s electronic literature aesthetic theories and programs once its distribution shifted from floppy disks and CD-ROMs to the Internet? How did early authors of electronic literature revisit their work in light of the ubiquity of the Internet as a form of writing?
Hannah Ackermans - 16.11.2015 - 10:13
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Translating E-poetry: Still Avant-Garde
The American poetry critic Marjorie Perloff undertook the task of rendering a solid theoretical framework to understand the evolution of the art of poetry after Modernism. Furthermore, she traced the evolution of “Postmodern” poetry, analyzing the most radical experiments including the digital poetry of the present. Based on Perloff’s perspective, this paper will observe the evolution of translation as part of the poetics of the American poet Ezra Pound and Brazilian poet Haroldo de Campos. Following its transformation as a writing strategy, they understood translation as a process adjacent to poetry, though the incorporation of translation as part of their own work would be observed as unethical for many critics. Therefore, Haroldo de Campos coined the term “Transcreation” in order to refer his translations as an original work. Interestingly enough, the paradigm for this sort of writing is the Irish writer James Joyce, whose controversial piece Finnegans Wake introduced not only linguistic but also metaphorical and historical translation.
Hannah Ackermans - 16.11.2015 - 10:46
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Aesthetic Animism: Digital Poetry's Ontological Implications
This book offers a decoder for some of the new forms of poetry enabled by digital technology. Examining many of the strange technological vectors converging on language, it proposes a poetics appropriate to the digital era while connecting digital poetry to traditional poetry’s concerns with being (a.k.a. ontological implications). Digital poetry, in this context, is not simply a descendent of the book. Digital poems are not necessarily “poems” or written by “poets”; they are found in ads, conceptual art, interactive displays, performative projects, games, or apps. Poetic tools include algorithms, browsers, social media, and data. Code blossoms into poetic objects and poetic proto-organisms. Introducing the terms TAVs (Textual-Audio-Visuals) and TAVITS (Textual-Audio-Visual-Interactive), Aesthetic Animism theorizes a relation between scientific method and literary analysis; considers the temporal implications of animation software; and links software studies to creative writing. Above all it introduces many examples of digital poetry within a playful yet considered flexible taxonomy.
Alvaro Seica - 22.09.2016 - 15:10
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Collapsing Generation and Reception: Holes as Electronic Literary Impermanence
This essay discusses Holes, a ten syllable one-line-per-day work of digital poetry that is written by Graham Allen, and published by James O’Sullivan’s New Binary Press. The authors, through their involvement with the piece, explore how such iterative works challenge literary notions of fixity. Using Holes as representative of “organic” database literature, the play between electronic literature, origins, autobiography, and the edition are explored. A description of Holes is provided for the benefit of readers, before the literary consequences of such works are examined, using deconstruction as the critical framework. After the initial outline of the poem, the discussion is largely centred around Derrida’s deconstruction of “the centre”. Finally, the literary database as art is re-evaluated, drawing parallels between e-lit, the absence of the centre, and the idea of the “deconstructive poem”.
James O'Sullivan - 17.01.2017 - 22:13
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Nacht van de Poëzie
Het grootste poëziefeest van het jaar in de Grote Zaal van TivoliVredenburg. De 19 beste Nederlandstalige dichters, zowel de veteranen als de nieuwe sterren aan het poëtisch firmament, verzorgen deze nachtelijke poëzie-estafette. En uiteraard nemen muzikale en theatrale entr’actes het stokje enkele malen van ze over. Het evenement begint om 20.00 uur en eindigt meestal tegen 3.00 uur in de ochtend. In de gangen rond de Grote Zaal vindt gelijktijdig ook een boekenmarkt en een presentatie van kleine uitgevers, literaire tijdschriften en organisaties plaats. (Source: http://www.nachtvandepoezie.nl/over)
Hannah Ackermans - 13.11.2017 - 10:04
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35ste Nacht van de Poëzie
et grootste poëziefeest van het jaar kent in 2017 zijn 35ste (!) editie, als vanouds in de Grote Zaal van TivoliVredenburg. De 19 beste Nederlandstalige dichters, zowel de veteranen als de nieuwe sterren aan het poëtisch firmament, verzorgen deze nachtelijke poëzie-estafette. En uiteraard nemen muzikale en theatrale entr’actes het stokje enkele malen van ze over. Het evenement begint om 20.00 uur en eindigt meestal tegen 3.00 uur in de ochtend. In de gangen rond de Grote Zaal vindt gelijktijdig ook een boekenmarkt en een presentatie van kleine uitgevers, literaire tijdschriften en organisaties plaats. (Source: http://www.nachtvandepoezie.nl/over)
Hannah Ackermans - 13.11.2017 - 10:09
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Combination and Copulation: Making Lots of Little Poems
Combination and Copulation: Making Lots of Little Poems
Scott Rettberg - 27.04.2018 - 14:20
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Love and Loss in Robert Kendall's "A Life Set for Two"
The sixth chapter in Rebooting Electronic Literature: Documenting Pre-Web Born Digital Media (2018) about Robert Kendall's narrative poem, A Life Set for Two, contains Dene Grigar's essay, entitled "Love and Loss in Robert Kendall's A Life Set for Two.
The essay is descriptive and takes the reader through the story, like a "walkthrough". Throughout the text there is very detailed descriptions of how the different scenes look and what's happening in the scene, making it possible for the reader to imagine the setting the story takes place in. It also allows for more immersion. As the users of A Life Set For Two can interact with the work by clicking through different options along the story, Dene Grigar also explains what happens when clicking these as she progress through the story. Along with this the essay also provides general information about the production of the work, the essay also analyzes the poem from the perspective of the themes of love and loss.
Ewan Matthews - 06.06.2018 - 18:52
