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The Posthuman Poetics of Instagram Poetry
Instagram poetry, a type of digital poetry is, as the name implies, poetry that is produced for distribution through the social media channel Instagram and most usually incorporates creative typography with bite size verses.
Instagram poetry can demonstrate the cultural impact of a posthuman cyborgian fluidity of borders and forms in that we essentially find ourselves left with anthropophagic texts - cannibalistic texts that remix, reuse and re-appropriate content. Digital texts can no longer be regarded as singular standalone objects rather they are constantly changing assemblages in which inequalities and inefficiencies in their operations drive them towards breakdown, disruption, innovation and change
sondre rong davik - 05.09.2018 - 14:54
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PhoneMe: A mobile phone-native genre of poetry for the social media age
This presentation regards to development of a place-based, geotagged, online mapping of an innovative, mobile phone-native, spoken word genre of poetry. The website www.phonemeproject.com hosts poems that are left as messages by calling 1-604-PHONEME (746-6363) and leaving your name, location of the call or topical location of the poem, title of the poem, and then recording a poem of up to four minutes in length. The poem is pinned on an interactive map that features a google street view image of the location, the MP3 audio file, and in some cases the text of the poem. Longer poems can serialized. The intent of this project is to give voice to community-based writing about real places and spaces within the community. As such, it began with a year of workshops conducted in the downtown east side of Vancouver, one of the poorest neighbourhoods in North America, in order that poets in the community to speak back to media representations of their neighbourhood. We have moved on to working with schools, providing workshops for hundreds of students in British Columbia, Canada.
Jana Jankovska - 05.09.2018 - 16:02
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Probing the gaps between datasets and interfaces in electronic literature
The contrast between the conceptual and material realities of data harvesting and of digital interfaces is a captivating subject matter I will tap into to make visible the physicality of the internet and to subvert destructive dominant, colonial narratives with respect to the natural environment and climate.
This intervention will use poetry and photography/video as electronic literature to shed light on the conceptual language used online (e.g., on social media, corporate websites, online magazines, etc.) to discuss datasets in relationship to digital interfaces. Furthermore, it will address an identifiable gap within this language, which can be viewed in the production of massive amounts of electronic waste.
Amirah Mahomed - 19.09.2018 - 14:53
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A Project Gutenberg Poetry Corpus
In this paper, I present the Gutenberg Poetry Corpus: a corpus of over three million lines of poetry (in annotated JSON format) automatically curated from Project Gutenberg. Project Gutenberg, a collection of machine-readable texts in the public domain, was originally instigated in the early 1970s with a hand-typed copy of the US Declaration of Independence. More recently driven by the volunteer efforts of a decentralized group of proofreaders, Project Gutenberg now consists of more than 54,000 texts, mostly English- language literature from the 18th and 19th centuries. Researchers in the humanities and in computational linguistics have made use of Project Gutenberg for decades, and more recently its use in data-driven computational creativity has grown. I relay the methodology used to automatically filter and identify lines of poetry from the larger Gutenberg corpus, discuss the potential of this corpus for research and creative work, and then present a series of my own experiments that use this corpus as their primary source material.
Susanne Årflot Løtvedt - 26.09.2018 - 14:15
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Born Digital
“E-poetry relies on code for its creation, preservation, and display: there is no way to experience a work of e-literature unless a computer is running it—reading it and perhaps also generating it.” Stephanie Strickland outlines 11 rules of electronic poetry.
Ana Castello - 02.10.2018 - 13:20
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Reading Project: A Collaborative Analysis of William Poundstone’s Project for Tachistoscope
Electronic literature is a rapidly growing area of creative production and scholarly interest. It is inherently multimedial and multimodal, and thus demands multiple critical methods of interpretation. Reading Project: A Collaborative Analysis of William Poundstone’s Project for Tachistoscope {Bottomless Pit} is a collaboration between three scholars combining different interpretive methods of digital literature and poetics in order to think through how critical reading is changing—and, indeed, must change—to keep up with the emergence of digital poetics and practices. It weaves together radically different methodological approaches—close reading of onscreen textual and visual aesthetics, Critical Code Studies, and cultural analytics (big data)—into a collaborative interpretation of a single work of digital literature.
Ana Castello - 02.10.2018 - 19:40
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The Convergence between Print and Digital Literature in Blackout Poetry
The Convergence between Print and Digital Literature in Blackout Poetry study the phenomenon of the “blackout poetry” both in the digital and the physical world. According to Ralph Heibutzki, on Demand Media, “Blackout Poetry focuses on reordering words to create a different meaning. Also known as the newspaper blackout poetry, in it, the author uses a permanent marker to cross out or delete words or images that he sees as unnecessary or irrelevant to the effect he is trying to create. The central idea is to design a new text from the words and images published previously, but finally, the reader is free to interpret as he wants.”
Carlos Muñoz - 03.10.2018 - 15:47
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Cling-Clang-Cornelius: Digital Sound Poetry as Embodied Posthumanism
Starting from the problematic gap between the unicity of the human voice and the socio-cultural variables that are unavoidably attached to her expressions, this presentation proposes the phenomenon of ‘sound poetry’ as paradigmatic bridge between a biological reality and its posthuman condition. The underlying reasoning harks back to media artist and philosopher Norie Neumark’s remark that sound poetry like no other mode of artistic expression “stimulates reflection on the uncanny and complicated relation between embodiment, alterity, and signification” (2010). Most notably the appropriation and – literal – embodiment of electronic technologies in digital sound poetry has recently yielded a new dynamic to the performativity of poetic composition. With today’s technical possibility to sample and mediate minimal acoustic nuances in the here-and-now we are allowed a glimpse into the supplement of meaning generated by the meeting between text/script and voice/sound. Such post-human amplification of an intrinsically arch-human act accordingly finds its broader relevance broadside conventional aesthetic standards.
Carlos Muñoz - 03.10.2018 - 15:57
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WordHack Anthology: 2014-2019
WordHack Anthology brings together projects and documentation presented during the first five years of WordHack, a monthly presentation series at Babycastles in NYC centered around the intersection of language and technology. WordHack is designed to be an open meeting space for people across disciplines to see what each other are working on and thinking about, from coders interested in the creative side, to writers interested in new forms writing can take, to game makers looking for new ways to play with words, to academics researching the newly possible.
(Source: https://toddwords.itch.io/wordhack-anthology)
Stian Hansen - 19.08.2019 - 13:12
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Infinite Verse
Infinite literature is abundant, often conceptually simple, and often formally easy to understand. For critics and poets to explore infinite forms of literature further, it is important to clarify their essentials. In this discussion I will describe properties of infinite (or, to phrase it differently, “boundless”) poetry. I specifically consider verse — poetry which, when composed, is “turned” into lines in some typical or unconventional way. These verse works, or segmented verbal works, need not be digital: There are many infinite artworks that are not based on digital computation or even what people would usually describe as “technology,” while there are many finite (bounded) artworks that are computational. Some of the works I will cover are thought of as prose fictions, but I will demonstrate that to attain boundlessness they need at least one turn of the sort that is characteristic of verse.
Nick Montfort - 06.09.2019 - 22:48
