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Toward. Some. Air.
Remarks on Poetics of Mad Affect, Militancy, Feminism, Demotic Rhythms, Emptying, Intervention, Reluctance, Indigeneity, Immediacy, Lyric Conceptualism, Commons, Pastoral Margins, Desire, Ambivalence, Disability, The Digital, and Other Practices Edited by Amy De’Ath and Fred Wah Toward. Some. Air. is a landmark collection of profiles of contemporary poets, statements, essays, conversations about contemporary poetry and poetic practice, and a few exemplary poems selected by up-and-coming poet and scholar Amy De’Ath and Governor General’s Award-winning, former Parliamentary Poet Laureate Fred Wah. The over 40 contributors to this anthology are renowned poets and academics from Canada, the United States, and the United Kingdom. Toward. Some. Air. is an open invitation to consider the various contours and meanings of Anglophone poetic practice, as a way of interpreting the world around us. An invaluable critical resource with unprecedented scope, this is a book that speaks to the future of contemporary poetics and writing poetry.
J. R. Carpenter - 10.05.2015 - 11:17
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Becoming Digital
A circular interview on "Becoming Digital" conducted by J. R. Carpenter, with responses from Brian Stefans, Stuart Moulthrop, Darren Wershler, David Jhave Johnston, Lori Emerson, Nick Montfort, and Stephanie Strickland in an anthology on experimental poetics edited by Amy De'Ath and Fred Wah, out now from Banff Centre Press.
J. R. Carpenter - 10.05.2015 - 11:55
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Walks from City Bus Routes: A Circuitous Route
An article on the creation and critical context of J. R. Carpenter's web-based work "Walks from City Bus Routes", which uses JavaScript to randomly and endlessly recombine illustrations and portions of text from an Edinburgh City Transport booklet published in the 1950sand bus and tram route icons from a City of Edinburgh Transport Map published in the 1940s, resulting in a new guide ‘book’ which perpetually proposes an infinite number of plausible yet practically impossible walking routes through the city of Edinburgh, and and its book shops, confusing and confounding boundaries between physical and digital, reading and writing, fact and fiction.
J. R. Carpenter - 18.05.2015 - 12:48
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Arto Kytöhonka
Finnish writer who made several computer poems in the 1980s and early 1990s. Died in 1992 when his house burned down. The fire also destroyed all known copies of his digital work, although diskettes were sold in North America and may yet be recovered.
Jill Walker Rettberg - 21.05.2015 - 10:36
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Electronic Literature Communities
This collection provides us with landmarks to find our way through histories that took shape parallely by remembering events, journal launches, mailing lists, formal processes of institutionalisation, publications, of creative work, and other happenings, that served as impetus for the communities to form underneath the umbrella of electronic literature in practice. A broad range of research aims and methodologies are represented within the studies published in this book, ranging from an ethnographic approach (Travlou; Biggs), historical approaches based on interviews and a distant reading of the field (Walker Rettberg), research based on archival materials, documents and ephemera (Rettberg), conversations from Listservs and community websites (Glazier; Leishman), in addition to more traditional literary methodologies, and anecdotal accounts from individuals who were active participants developing the communities they discuss.
Hannah Ackermans - 26.08.2015 - 15:09
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The Digital Diasthima: Time-Lapse Reading as Critical and Creative Performance
In moving texts, such as digital kinetic poetry, the reader-user might no longer control the duration of their reading, unlike the traditional and static nature of printed texts. The user deals with readable time versus executable time, the human time-line versus the machine time-line. By having an imposed and fixed number of milliseconds to perceive the text on the screen, the user might find themselves completing or imagining the unread text, following the dynamic forms with an imposed dynamic content. Yet, to understand the shifting reading patterns of digital poems, one has to consider another methods or tools that may complement traditional models. Therefore, performing a critical approach solely based in close reading methods might not accomplish a fully comprehensible reading of digital poetry. In this sense, following upon methods taken from other areas, e.g. time-lapse photography and R.
Alvaro Seica - 03.09.2015 - 20:26
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The Digital Diasthima: Time-Lapse Reading Digital Poetry
In moving texts, such as digital kinetic poetry, the reader-user might no longer control the duration of their reading, unlike the traditional and static nature of printed texts. The user deals with readable time versus executable time, the human time-line versus the machine time-line. By having an imposed and fixed number of milliseconds to perceive the text on the screen, the user might find themselves completing or imagining the unread text, following the dynamic forms with an imposed dynamic content. Yet, to understand the shifting reading patterns of digital poems, one has to consider another methods or tools that may complement traditional models. Therefore, performing a critical approach solely based in close reading methods might not accomplish a fully comprehensible reading of digital poetry. In this sense, following upon methods taken from other areas, e.g. time-lapse photography and R.
Alvaro Seica - 03.09.2015 - 22:02
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'Algorritmos: Infopoemas' by E. M. de Melo e Castro
Since 1986, besides videopoetry, E. M. de Melo e Castro worked on a series of experiments with other computer media (suportes informáticos), coined by the author as “infopoesia” [infopoetry], in which he used image editor software. Once more – and this is a fact the analysis by Jorge Luiz Antonio (2001) does not highlight – the prevailing choice of image editors at the expense of word processors reveals the visual affiliation of Castrian poetics. The infopoems’ visual animations acknowledge pixel as the primary unit of meaning, in the perspective of an infopoetic language.
(Source: Author's text)
Alvaro Seica - 03.09.2015 - 22:50
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'Computer Poetry' by Silvestre Pestana
In the 1980s, the world saw the introduction of personal computers (PCs). While the first creative stage of electronic literature took advantage of mainframe computers, only accessible in institutional environments, the context in which Silvestre Pestana created his first computer poems was totally different – a new wave Pedro Barbosa sarcastically calls “poesia doméstica” [domestic poetry] (1996: 147). With personal computers, Silvestre Pestana programmed in BASIC, first for a Sinclair ZX81, and then, already with chromatic lighting, for a Sinclair ZX Spectrum, three poems respectively dedicated to Henri Chopin, E. M. de Melo e Castro and Julian Beck, which resulted in the Computer Poetry (1981-83) series. Pestana, a visual artist, writer and performer – who had returned from the exile in Sweden after Portugal’s Carnation Revolution of April 25, 1974 – brought diverse influences put forward with photography, video, performance, and computer media.
Alvaro Seica - 04.09.2015 - 02:00
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'Máquinas Pensantes' by Pedro Barbosa
Barbosa’s theoretical-practical trilogy closes with Máquinas Pensantes: Aforismos Gerados por Computador [Thinking Machines: Computer-Generated Aphorisms] (1988), as it can be understood as the third volume of A Literatura Cibernética. Here, the author presents a long series of literary aphorisms, in which the generation of texts is said to be “computer-assisted” (Computer-Assisted Literature) in BASIC language. The “A” series (Re-text program) deals with combinatorial “re-textualizações” [re-textualizations] (1988: 59) of a fragment (“matrix-text”) by Nietzsche and the “B” series (Acaso program), which had been partially published in the Jornal de Notícias (1984), draws upon the conceptual model created by Melo e Castro’s poem “Tudo Pode Ser Dito Num Poema” [Everything Can Be Said in a Poem], included in Álea e Vazio [Chance and Void] (1971). Melo e Castro himself would write an early review on the aphorisms, in the Colóquio Letras (1986) literary magazine, revealing Barbosa’s outputs as undeniable literary productions.
Alvaro Seica - 04.09.2015 - 02:47
