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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
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Loss of Grasp
“Loss of Grasp” is an interactive narrative about the notions of grasp and control. What happens when one has the impression of losing control in life, of losing control of his/her own life? Six scenes tell the story of a man that is losing himself. “Loss of Grasp” plays with the grasp and the loss of grasp and invites the reader to experiment with these feelings in an interactive work.
Serge Bouchardon - 21.09.2010 - 11:28
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Separation / Séparation
Author description: This text was written during a stay in the hospital in 2001. Computer workers often neglect their bodies and by doing so they risk the development of a Repetitive Strain Injury (RSI). The visitors of Separation / Séparation are compelled to click slowly (as someone recovering from RSI) in order to see how words appear, one by one. Every now and then an exercise for an RSI patient is proposed and all interaction with the computer is postponed. The text seems to be about a separation between human beings, but the last two phrases reveal that it is about a separation between a human being and a computer. The exercises in this piece are based on the exercises in WorkPace, a software tool that assists in the recovery and prevention of RSI. (Author's abstract.)
Eric Dean Rasmussen - 21.02.2011 - 11:10
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Toucher
It may seem paradoxical to create an online work on touching. One cannot touch directly: in this case touching requires a mediating tool such as a mouse, a microphone or a webcam. This touching experience reveals a lot about the way we touch multimedia content on screen, and maybe also about the way we touch people and objects in everyday life. The internet user has access to five scenes (move, caress, hit, spread, blow), plus a sixth one (brush) dissimulated in the interface. She can thus experience various forms and modalities of touching: the erotic gesture of the caress with the mouse; the brutality of the click, like an aggressive stroke; touching as unveiling, staging the ambiguous relation between touching and being touched; touching as a trace that one can leave, as with a finger dipped in paint; and, touching from a distance with the voice, the eyes, or another part of the body. This supposedly immaterial work thus stages an aesthetics of materiality.
(Source: Author's description from Electronic Literature Collection, Volume Two)Eric Dean Rasmussen - 21.02.2011 - 14:22
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La Casa Sota el Temps
Author description: La casa sota el temps ('the house under time') is designed and programmed to immerse the reader in a virtual space, that plays off of the structure of conventional narrative in order to create a reading experience that includes a multitude of interactive possibilities. The reader is the main protagonist of a multimedia journey that gives her the freedom to explore and also to build the fictional universe that she desires.
Eric Dean Rasmussen - 23.02.2011 - 15:01
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Perdersi
“Loss of Grasp” recreates the loss of self-control. What happens when one has the impression of losing control in life, of losing control of his/her own life? Six scenes tell the story of a man that is losing himself. “Loss of Grasp” plays with the self-control and the loss of self-control and invites the reader to experiment with these feelings in an interactive work.
Patricia Tomaszek - 16.03.2011 - 12:03
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Amor de Clarice
Following Genette's forms of paratextuality, the process of quoting or re-writing in this poem involves a hypotext - the antecedent literary text (Clarice Lispector's "Amor") - and a hypertext, that which imitates the hypotext (the poem "Amor de Clarice"). Both hypotext and hypertext were performed and recorded by Nuno M. Cardoso, and later transcribed within Flash, where the author completed the integration of sound, animation, and interactivity. Following the hypotext/hypertext ontology, there are two different types of poems. In half of them (available from the main menu, on the left), the main poem (the hypertext) appears as animated text that can be clicked and dragged by the reader, with sounds assigned to the words. In these poems, the original text (the hypotext) is also present, as a multilayered, visually appealing, but static background. The sound for these movies was created by Carlos Morgado using recordings with readings of the poem.
Scott Rettberg - 15.04.2011 - 12:04
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[theHouse]
[theHouse] is a digital poetry piece which takes the form of computer-based spatialized organism.world. Through the process of enacting texts within, alongside, and outside of the text of computational code, this autobiographical work is regulated by the computational process of the sine wave. Here, the text is written upon "rooms," and these rooms emerge to create "houses" next to and among the intermingling text. As in much of electronic literature, the experience of the work as an intimate, interactive, screen-based piece is essential to understanding and appreciating it. Indeed, the work is only realized through user interaction and navigation. How does everyday spatial practice bring into focus the relationship between code, language, and relationships? What are the key characteristics of digital relationships as seen through this light? Does the recurring emphasis on process, chance, and interactivity also function as an indicator of larger questions about the chance writing of the text? The poem presented is autobiographical in nature yet engages the conceptualization of both language and embodiment as the text creates its own types of organism.
Eric Dean Rasmussen - 10.05.2011 - 13:15
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Why Digital Literature Has Always Been “Beyond the Screen”
Andrew Michael Roberts demonstrates that digital literature has always been beyond the screen. In many of the practices and framing ideas of electronic literature, he identifies recurrences of key conceptions of modernism and postmodernism such as literalization, enactment, difference, movement, etc. Nonetheless, as he argues, literature is embracing new forms of expression influenced by the evolving mediatechnological possibilities and the increased involvement of the recipient’s whole body.
(Source: Beyond the Screen, introduction by Jörgen Schäfer and Peter Gendolla)
Scott Rettberg - 23.05.2011 - 13:02
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Multimediality, Intermediality, and Medially Complex Digital Poetry
In Grammophone, Film, Typewriter, Friedrich Kittler envisioned a digital future of demediation: all traditional differences between media and mediations would be ended in a fusion of digital numbers. Kittler’s vision, I argue in my paper, is premediated by Richard Wagner’s artwork of the future: despite their differences, both stage the dream of a multimedial future in which monomediality or medial compartmentalization is effectively aufgehoben. This idea of premediation is further explored by comparing Wagner’s music drama’s to digital multimedia works and events of the 1990’s and early years of our twenty-first century that try to fuse words, bodily gestures, sounds, and images.
Patricia Tomaszek - 21.09.2011 - 14:34
