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From Concrete to Digital: The Reconceptualization of Poetic Space
It has almost become self-evident in the critical discourse on digital poetry to assess digital poetry as a continuation of an experimental tradition with its origins in the historical and the neo-avant-garde. Critics such as Friedrich W. Block and Roberto Simanowski in particular read contemporary digital poetry explicitly as extension and continuation of concerns of the avant-garde and concrete poets.
Block points out that almost all vital concerns of digital poetry can be traced back to its historical predecessors. He names the reflection upon the concrete language material, the transgression of genre boundaries, multilinearity and the exploration of spatial structures, movement and interactivity as key strategies which are vital concepts in historical avant-garde, concrete and digital poetry. Digital poetry is frequently, and I believe correctly, assigned to the wider trajectory of experimental/avant-garde poetry in many other studies as well. It is often considered as a third stage, contemporary continuation and further development of earlier experiments.
Patricia Tomaszek - 14.09.2010 - 14:43
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Questions to Augusto de Campos
An interview with Augusto de Campos on concrete poetry as international movement.
Patricia Tomaszek - 03.02.2012 - 15:56
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Oslo Screen Festival: Interview with Ottar Ormstad
Before when was created, LYMS was screened. An interview with Ottar Ormstad about his work and artistic influences.
Patricia Tomaszek - 18.11.2012 - 13:23
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A Cross-Medial Close Reading of Swedish Digital Poetry
In the work with my thesis on digital poetry I aim to highlight the following three axes
1) A theoretical reflection considering language in interaction with the visual and auditory modalities as well as an investigation of the relation between language and technical media, using theorists such as N. Katherine Hayles and Friedrich A. Kittler.
2) An analytical, methodical approach, which investigates digital works of poetry and their intermedial relations and effects of meaning.
3) Putting into perspective the historical concrete poetry and avant-garde movements – primarily from Scandinavia.
Audun Andreassen - 10.04.2013 - 13:44
