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1. 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

2. Collaborations in E-lit

   This essay, a discussion between two esteemed e-poets for whom collaboration is an integral part of their creative practice, appeared in the "The Collaborative Turn" special issue of American Book Review, guest-edited by Davis Schneiderman. In their discussion, Montfort and Strickland survey several common types of e-lit collaboration and provide links to representative examples. Strickland explicitly links the material aesthetics of code poetics to literary theorist Timothy Morton's call for critical thinking that engages the universe's enmeshed interconnectedness, which he dubs "the ecological thought."

   Eric Dean Rasmussen - 29.12.2011 - 11:45

3. Where Are We Now?: Orienteering in the Electronic Literature Collection, Volume 2

   In an increasingly monolingual, globalized world, the second volume of theElectronic Literature Collection may just offer a map of the territory. The question the reviewer, John Zuern, poses is how do we navigate this terrain going forward? (Source: ebr.)  

   Eric Dean Rasmussen - 06.04.2012 - 17:14

4. Writing the Ephemeral […] and Re-Enchanting the Remnants: The Lability of the Digital Device in Literary Practice

   Whenever the program of a work is run by a computer, the digital device necessarily plays a role in its updating process: because of the operating systems, the software and the ever changing speed of computers, it may sometimes affect the author’s artistic project, or even make it unreadable on screen. Thus, authors lose control over the evolution of their work and the many updates it undergoes. Thus, the artist is given four options when dealing with the lability of the electronic device: (1) she demands the ‘right’context of reception for his work – a requirement which, over time, will be confronted with the impossibility to preserve obsolete machines, software and operating systems; (2) she ‘re-enchants’ the lability of the electronic device and ascribes a ‘technological sublime’ to it; (3) she simply ignores the lability of the digital device and creates at once, as if the digital framework was immutable; (4) she is fully aware of the instable environment in which his digital creation will be updated; he even considers the ephemeral and uncontrollable nature of his work as its fundamental aesthetic principle.

   Patricia Tomaszek - 12.12.2012 - 14:21

5. 'Living Letterforms': The Ecological Turn in Contemporary Digital Poetics

   In this keynote for the Digital Poetics and the Present seminar, RIta Raley offers a reading of David Jhave Johnston's Sooth, a cycle of six video poems, where the reader's clicks draw out lines of poems superimposed on video that drifts around a natural scene. Raley argues that Sooth is emblematic of a recent shift in digital poetry towards a concern with ecology, where non-human actors are animate and lively. She describes this as a step away from the intense focus on the code, the technical and computational processes that dominated digital poetry at the start of the last decade. Jhave's project, Rita Raley argues, is to create digital poems that respond as though they are animate, alive. This isn't about artificial intelligence or simply about emulating life but about prompting (in us, the readers) an embodied recognition of life.

   Jill Walker Rettberg - 09.12.2011 - 10:45

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