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Concrete Poetry in Digital Media: Its Predecessors, its Presence and its Future
How does concrete poetry develop in digital media? What is its intention? What is the meaning behind it? Does the play with the symbolic orders of language question social patterns as in concrete poetry in the 1960s? Does it rather aim to free the word from its representational, designational function towards the "pure visual"? And how should one approach it? With a meaning driven soul asking for the message behind the technical effect and disparaging any brainless muscle flexing? With a spectacle driven soul enjoying all the cool stuff you can do with programming and embracing de "pure code" as new avant-garde? This essay discusses the aesthetic concept of concrete poetry and places the subject into the ongoing discussion of "software-art" and the aesthetic of the spectacle. It begins with a look back to the predecessors of concrete poetry in print media before introducing to examples of concrete poetry in digital media.
Patricia Tomaszek - 15.02.2011 - 18:53
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Senghor on the Rocks
Senghor on the Rocks (SOTR) was published online under a creative commons license as the first novel illustrated with Google Maps. Every page of the virtual book that was created for the online presentation of the novel is accompanied by a satellite view of the current location of the story. Readers experience the novel’s action as a journey on the map, including smooth panning from location to location as the characters travel around or different zoom levels showing areas in close detail or as an overview. The novel itself is written in German and deals with an involuntary journey of young assistant cameraman Martin “Chi” Tschirner taking him through Dakar and the Senegal. In the first chapters Chi is busy shooting a promotional film in Dakar and does not care too much about where he is or what the city he is hurrying through may be like – other than loud, dirty and inscrutable. Chi doesn’t like his job or the people he works with too much and the routines of his work prevent him from seeing the world instead of a series of changing locations requiring different light filters and lenses.
Eric Dean Rasmussen - 16.02.2011 - 14:37
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GRAMMATRON
Inspired by Derrida's Of Grammatology, Mark Amerika experiments in GRAMMATRON with narrative form in a networked environment. Amerika retells the Jewish Golem myth by adapting it into the culture of programmable media and remixing several genres of text into the story's hybridized style, including metafiction, hypertext, cyberpunk, and conceptual works affiliated with the Art+Language group.
Narrated from various authorial perspectives, the story introduces readers to Abe Golam, a pioneering Net artist who creates Grammatron, a writing machine. Endowed not with the Word (as in the original myth) but with forbidden data—a specially coded Nanoscript—the creature becomes a digital being that "contains all of the combinatory potential of all the writings." The Grammatron is the personification of the Golem, which is also a personification of Amerika the artist. While the Golem and its environment have been depicted in any number of literary adaptations and works, in GRAMMATRON, Mark Amerika creates a seemingly infinite, recombinant (text-)space in the electrosphere.
Eric Dean Rasmussen - 16.02.2011 - 15:42
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Birds Singing Other Birds' Songs
Author description: This work originated when I was invited to exhibit at the Medway Galleries. The most interesting features of the gallery were its high ceiling and three large windows, which I was inspired to use in the work. I wanted to explore kinetic typography, the animation of images and sound. I came across a transcription of birds' songs in the book The Thinking Ear. Suddenly, I was drawn to this transcription because of the similarities with the phonemes I was using in my other works. The repetitive aspect of letters and what looked like syllables reminded me of sound poems. So, I decided to ask some singers to sing their own interpretation of the transcriptions of the songs, in order to play with the interpretative process of these translations. Having been translated first from birds' song into linguistic interpretations, now the birdsongs would be re-interpreted by the human voice. The sounds that emerged from this study were later attached to the animated birds in the shape of calligrams. The outlines and letters of the text birds corresponded to the transcribed sound made by each bird, so making the birds sing their own visual-textual compositions.
Eric Dean Rasmussen - 17.02.2011 - 11:35
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Book Unbound
Abstract: “Book Unbound” is a “collocational cybertext,” a self-assembling poetic collage that can be read in two ways: either automatically in the “bound” mode, or in an “unbound” mode that allows readers to extract and recycle words from its recombinant text stream. The present version is a HyperCard stack (Mac only, HyperCard program not required) available for downloading. –Editor
Post Modern Culture
https://www.pomoculture.org/2013/09/21/book-unbound/
Editor’s Note: “Book Unbound” is a HyperCard stack. The present version runs only on Apple Macintosh computers. Activate one of the links below to download a compressed, binary version of the stack (a self-extracting StuffIt archive). If you are using a correctly-configured graphical browser, the file should be converted and decompressed file automatically. If it does not, save the file, convert it with BinHex then double-click to launch the self-expanding archive. If you own a copy of HyperCard, download the stack only (120k). If you do not own HyperCard, download the stand-alone application (676k).Jill Walker Rettberg - 18.02.2011 - 15:16
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Hegirascope
Early web hypertext that combines links with text that automatically refreshes, sometimes faster than the reader can follow it.
Note: The New River published Hegirascope Version 2 in October 1997.
Author's description, from The New River:
WHAT IF THE WORD STILL WON'T BE STILL?
This is an extensive revision of a Web fiction originally released in 1995. The current text consists of about 175 pages traversed by more than 700 links. Most of these pages carry instructions that cause the browser to refresh the active window with a new page after 30 seconds. You can circumvent this by following a hypertext link, though in most cases this will just start a new half-minute timer on a fresh page.
The best way to encounter this work is simply to dive in, though some may prefer a more stable reference point. For these readers, there is an index to particularly interesting places in the text. You may want to go to that page and bookmark it.
The original "Hegirascope" was designed for Netscape Navigator 1.1 or Microsoft Internet Explorer 2.0. This version adds no new technical features and requires no plug-ins, Java, or JavaScript.
Jill Walker Rettberg - 18.02.2011 - 15:22
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The Impermanence Agent
To read this work, the reader had to browse the internet through a proxy server which kept track of visited websites and launched small windows in the readers browser, while the reader was viewing other sites, telling fragments of a story throughout the week. As the week progressed, the story would replace parts of the original text and images with text and images from sites the reader had visited. The work is no longer accessible.
Jill Walker Rettberg - 18.02.2011 - 15:45
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Electronic Literature Collection, Volume One
Electronic Literature Collection, Volume One
Eric Dean Rasmussen - 18.02.2011 - 18:16
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Spineless Books
Publisher's statement: Founded 20-02-2002, Spineless Books is an independent publishing house dedicated to the production and distribution of printed and electronic literature, with an emphasis on collaborative writing, formal experimentation, and utopian thought.
Eric Dean Rasmussen - 18.02.2011 - 18:56
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Mez Breeze
Mez Breeze crafts experimental storytelling, Virtual Reality Literature, VR sculptures + paintings, XR experiences, games, and other genre-defying output. In 1994, Mez first started using the World Wide Web to author digital works and she hasn’t slowed since.
Eric Dean Rasmussen - 18.02.2011 - 19:07
