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  1. Digital Poetics or On the Evolution of Experimental Media Poetry

    The academic and literature critical discussion on new media poetry or about digital texts swings to and fro, in method and conception between two poles: one is the 'work immanent' approach of structure description and classification, and the other the deduction of abstract media esthetics. At a tangent to this the communication on media, culture and media art has been more or less committed to the priority of technological reasoning since the nineties at the latest. The concern with technology remains a dilemma: Technology has to be taken into account when dealing with concrete structure analyses of works of digital poetry, but some traps lie in wait. Is the knowledge accounted for here really sufficient? I would say that few of those taking part in the discussion who do not actually work in the specific area artistically are capable of programming digital texts (the same may be said of some artists). Another problem is something I have casually termed a new techno-ontology: a ‘cold fascination’ for technological being (also of texts), which flares up briefly with each innovation pressing for the market in the respective field.

    Patricia Tomaszek - 14.09.2010 - 14:16

  2. New Media Poetics: Contexts, Technotexts, and Theories

    New media poetry—poetry composed, disseminated, and read on computers—exists in various configurations, from electronic documents that can be navigated and/or rearranged by their "users" to kinetic, visual, and sound materials through online journals and archives like UbuWeb, PennSound, and the Electronic Poetry Center. Unlike mainstream print poetry, which assumes a bounded, coherent, and self-conscious speaker, new media poetry assumes a synergy between human beings and intelligent machines. The essays and artist statements in this volume explore this synergy's continuities and breaks with past poetic practices, and its profound implications for the future. By adding new media poetry to the study of hypertext narrative, interactive fiction, computer games, and other digital art forms, New Media Poetics extends our understanding of the computer as an expressive medium, showcases works that are visually arresting, aurally charged, and dynamic, and traces the lineage of new media poetry through print and sound poetics, procedural writing, gestural abstraction and conceptual art, and activist communities formed by emergent poetics.

    (Source: Publisher's description)

    Patricia Tomaszek - 21.09.2010 - 11:24

  3. Literary Art in Digital Performance: Case Studies in New Media Art and Criticism

    Literary Art in Digital Performance examines electronic works of literary art, a category integrating the visual+textual including interactive poetry, narrative computer games, filmic sculpture, projective art, and other works specific to digital media. In recent decades, electronic art's aesthetic has been driven by new algorithmic, randomized, and emergent processes. Although this new art differs from material art or print literature, the rise of popular fascination with new media has neglected signifcant discussion of how technical mediation impacts contemporary art and literature. Presented as a collection of case studies by leading scholars, the book provides a contemporary optic on this art's forms, problems, and possibilities. Each case study is followed by a post-chapter dialogue where the editor engages authors on the foundational aesthetics of new media art and literature.

    Table of Contents

    1. Introduction: Juncture and Form in New Media Criticism, Francisco J. Ricardo

    2. What is and Toward What End do We Read Digital Literature?, Roberto Simanowski Post-Chapter Dialogue, Simanowski and Ricardo

    Eric Dean Rasmussen - 31.01.2011 - 10:01

  4. Dichtung Digital 40

    This edition reflects upon the need of techniques to approach the ongoing upheavals taking place in today's technology-driven production of (literary) art. The contributions assembled here all discuss ways of reading cultural objects created with digital media. The objects of interest are: a computer game (Soderman), a performance of a work that houses and visualizes its literary artifacts on a website - a huge database of texts by different authors (Rettberg), default settings and electronic poetics in an age of technological determinism (Heckman), literary artifacts in between book and programmable media (Vincler), story-telling in the Gulf (Lenze), and signs in a culture of mashups (Navas). In a time when cultural objects in digital culture reconfigure the reception of their addressees, it is important to develop not only a proper understanding of the impact of these ruptures on literary communication but also an interpretation of the presented moves into the scope of scholarly discussion. Such an engagement calls for what Roberto Simanowski proposes in his contribution: "digital hermeneutics."

    Patricia Tomaszek - 06.05.2011 - 18:42

  5. Vniverse

    The authors of Vniverse present the work Vniverse and explore the concepts of interactive reading and social reading spaces.

    Eric Dean Rasmussen - 30.05.2011 - 21:23

  6. electropoetics

    Initiated on March 15, 1997, ebr's electropoetics "thread" is devoted to discussions and debates about digital poetics and writing in electronic environments. Most, but not all, of the articles published in ebr about electronic literature and digital literary art appear in this thread. The first editor of electropoetics was Joel Felix, who edited a special issue by that title. David Ciccoricco (2002-2005) and Lori Emerson later served as electropoetics thread editors.

    Eric Dean Rasmussen - 01.09.2011 - 12:47

  7. A Poem Is a Machine to Think With: Digital Poetry and the Paradox of Innovation

    A Poem Is a Machine to Think With: Digital Poetry and the Paradox of Innovation

    Patricia Tomaszek - 21.09.2011 - 14:46

  8. Early Authors of E-Literature, Platforms of the Past

    A detailed discussion of the exhibit “Early Authors of Electronic Literature: The Eastgate School, Voyager Artists, and Independent Productions” (now installed at the University of Washington). Grigar looks specifically at the major technological shifts in affordances and constraints provided by early computer interfaces and the ways in which e-literature writers from the mid-1980s to the mid-1990s worked with and against these interfaces. For example, she discusses the command-line interface of the Apple IIe – which was released in 1983 – as an example of an interface that exemplifies an ideology wholly different from the now dominant Graphic User Interface. Thus, the command-line interface also makes possible entirely different texts and entirely different modes of thinking/creating such as that exemplified by bp Nichols' “First Screening” from 1984.

    Eric Dean Rasmussen - 05.10.2011 - 09:19

  9. Close Reading in the Realm of Static and Dynamic Texts

    Review and discussion of Reading Digital Literature at Brown University, organized by Roberto Simanowski (Brown University and Dichtung Digital) October 4-7, 2007.

    Patricia Tomaszek - 11.11.2011 - 15:28

  10. Writing to be Found and Writing Readers

    Poetic writing for programmable and network media seems to have been captivated by the affordances of new media and questions of whether or not and if so, how certain novel, media-constituted properties and methods of literary objects require us to reassess and reconfigure the literary itself. What if we shift our attention decidedly to practices, processes, procedures — towards ways of writing and ways of reading rather than dwelling on either textual artifacts themselves (even time-based literary objects) or the concepts underpinning objects-as-artifact? What else can we do, given that we must now write on, for, and with the net which is itself no object but a seething mass of manifold processes?

    Eric Dean Rasmussen - 01.12.2011 - 10:59

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