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1. Aesthetic Autonomy and Sensuous Appearing: Two Questions in the Aesthetics of Digital Poetry

   In this paper I would like to consider the aesthetics of digital poetry with reference to ideas of aesthetic autonomy and sensuous appearing.
   The notion of autonomy, whether of the art-work or of a mode of experience with which it is associated, has been central to the historical development of the idea of the aesthetic itself. Andrew Bowie defines it as ‘the idea that works of art have a status which cannot be attributed to any other natural object or human product’ (Aesthetics and Subjectivity, p. 2). It is an idea which has been seen as ideologically driven, as when Terry Eagleton suggests that ‘the idea of autonomy – of a mode of being which is entirely self-regulating and self-determining – provides the middle class with just the ideological mode of subjectivity it requires for its material operations’. Yet Eagleton also argues that aesthetic autonomy can provide a ‘vision of human energies as radical ends in themselves which is the implacable enemy of all dominative or instrumentalist thinking’, implying that it has potential for avant-garde or critical purposes (Eagleton, Ideology of the Aesthetic, 9).
   

   Eric Dean Rasmussen - 08.03.2011 - 16:05

2. "No Preexistent World": On "Natural" and "Artificial" Forms of Poetry

   Peter Gendolla pursues a paradox accompanying the literary avant-garde from Romanticism to the most current electronic installations; namely, that they want to bring back the cold, dead culture into “natural” life and that they are doing this with the most advanced technological procedures. They become more and more “technical” with the impulse not only to dissolve the division of the genres but also to transfer art at least by way of literary means into “natural” forms of life; thus, they are continually developing new forms of aesthetic difference that have to be differentiated from either nature or culture.

   Scott Rettberg - 24.05.2011 - 11:43

3. Humanities Games and the Market in Digital Futures

   Humanities Games and the Market in Digital Futures

   Eric Dean Rasmussen - 20.10.2011 - 08:50

4. Kenneth Goldsmith

   A conversational interview between the with poet Kenneth Goldsmith and the literary critic Marcus Boon.

   Eric Dean Rasmussen - 27.10.2011 - 13:29

5. Against Expression: An Anthology of Conceptual Writing

   In much the same way that photography forced painting to move in new directions, the advent of the World Wide Web, with its proliferation of easily transferable and manipulated text, forces us to think about writing, creativity, and the materiality of language in new ways. In Against Expression, editors Craig Dworkin and Kenneth Goldsmith present the most innovative works responding to the challenges posed by these developments. Charles Bernstein has described conceptual poetry as "poetry pregnant with thought." Against Expression, the premier anthology of conceptual writing, presents work that is by turns thoughtful, funny, provocative, and disturbing. Dworkin and Goldsmith, two of the leading spokespersons and practitioners of conceptual writing, chart the trajectory of the conceptual aesthetic from early precursors including Samuel Beckett and Marcel Duchamp to the most prominent of today’s writers.

   Jill Walker Rettberg - 09.12.2011 - 10:03

6. UbuWeb, the archive and the gallery

   As a seemingly limitless and comprehensive resource, UbuWeb (http://www.ubu.com) has put together a map of the past hundred or so years of ‘experimental’ writing, film, video, and sound art. It resembles the archive in its breadth and depth, in its relentless collecting, in its inherent totalizing tendencies. My argument is that UbuWeb, while not an ‘archive’ per se, does have a cataloging logic, though it is not apparent, and that its specific logic is based on the commodification of the artwork and the effects of that commodification on its exhibition. To understand that logic, I want to situate UbuWeb at the latest point in a series of discontinuous institutions and discourses that have all taken the ‘artwork’ as their object.

   Audun Andreassen - 03.04.2013 - 10:13