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1. Mining the Arteroids Development Folder

   In September 2008 Jim Andrews shared with me the “Arteroids Development Folder:” a collection of drafts, versions, source files, and other materials that document the work that led to the publication of his “poetic shoot 'em up" Arteroids (http://www.vispo.com/arteroids/index.htm).

   Audun Andreassen - 03.04.2013 - 09:54

2. We have never had a mind of our own: A Poetics of the Integrated Circuit

   The black-and-gray background of the splash page for the performance artist Stelarc’s website appears to be an abstraction of memory blocks, logic boards, and input/output pads. Into it is plugged a block of small white introductory text, a blip of red text listing devices necessary to access the site, and a sketch showing a body wired with EEGs to catch the brainwaves, ECGs to trace the heartbeat, EMG’s to monitor the flexor muscles, and an array of contact microphones, position sensors, and kineto-angle transducers to chart everything else. In this integrated circuit, voltage-in probes the body; voltage-out extends it. In case the point is not yet clear, two neon-bright chunks of text in the middle of the page blink on and off to announce it: “THE BODY IS,” the first lines read all in a rush, then slowly, spelling it out, “O-B-S-O-L-E-T-E.” In this paper, I would like to argue that the transformation from an organic, industrial society to the polymorphous information system Stelac enacts allows us to think back to machine-human collaborations overlooked in expressivist approaches to poetry.

   Audun Andreassen - 03.04.2013 - 16:02

3. Read Fast, Die Young? – Interpreting Young-Hae Chang Heavy Industries’ Flash Poem Dakota

   In this paper I discuss Young-Hae Chang Heavy Industries’ digital poem Dakota. I discuss how the poem controls the reader’s experience and how this control affects its possible interpretations. The control is mostly executed by limiting the reader’s freedom over reading. Reading time, direction and duration are determined by the poem. It is only possible to start the poem, but not rewind, stop or fast-forward it. Furthermore, the manipulation of speed affects reading in many ways. In the fast extreme the effect is illegibility, but more subtly used speed creates varieties of emphasis and de-emphasis. The effect of emphasis of this kind, I argue, creates different layers of readings and invites re-reading. These different readings require different cognitive modes, which mirror our contemporary reading habits. Not being in control of the reading process also leads to a scattered sense of unity, one of postmodernism’s essential traits. While reading the poem I also question why I read as I do, and by doing so I hope to present more general traits of how to approach digital literature.

   Arngeir Enåsen - 14.10.2013 - 15:20

4. Une “poésie numérique”? Khlebnikov et Jakobson, Marinetti, Schwitters, Kostelanetz

   Quelques protagonistes des avant-gardes historiques montrèrent de l’intérêt pour une poésie exclusivement faite de nombres.
   

   Rebecca Lundal - 17.10.2013 - 17:58

5. PhoneMe: A mobile phone-native genre of poetry for the social media age

   This presentation regards to development of a place-based, geotagged, online mapping of an innovative, mobile phone-native, spoken word genre of poetry. The website www.phonemeproject.com hosts poems that are left as messages by calling 1-604-PHONEME (746-6363) and leaving your name, location of the call or topical location of the poem, title of the poem, and then recording a poem of up to four minutes in length. The poem is pinned on an interactive map that features a google street view image of the location, the MP3 audio file, and in some cases the text of the poem. Longer poems can serialized. The intent of this project is to give voice to community-based writing about real places and spaces within the community. As such, it began with a year of workshops conducted in the downtown east side of Vancouver, one of the poorest neighbourhoods in North America, in order that poets in the community to speak back to media representations of their neighbourhood. We have moved on to working with schools, providing workshops for hundreds of students in British Columbia, Canada.

   Jana Jankovska - 05.09.2018 - 16:02

6. The Convergence between Print and Digital Literature in Blackout Poetry

   The Convergence between Print and Digital Literature in Blackout Poetry study the phenomenon of the “blackout poetry” both in the digital and the physical world. According to Ralph Heibutzki, on Demand Media, “Blackout Poetry focuses on reordering words to create a different meaning. Also known as the newspaper blackout poetry, in it, the author uses a permanent marker to cross out or delete words or images that he sees as unnecessary or irrelevant to the effect he is trying to create. The central idea is to design a new text from the words and images published previously, but finally, the reader is free to interpret as he wants.”

   Carlos Muñoz - 03.10.2018 - 15:47

7. Cling-Clang-Cornelius: Digital Sound Poetry as Embodied Posthumanism

   Starting from the problematic gap between the unicity of the human voice and the socio-cultural variables that are unavoidably attached to her expressions, this presentation proposes the phenomenon of ‘sound poetry’ as paradigmatic bridge between a biological reality and its posthuman condition. The underlying reasoning harks back to media artist and philosopher Norie Neumark’s remark that sound poetry like no other mode of artistic expression “stimulates reflection on the uncanny and complicated relation between embodiment, alterity, and signification” (2010). Most notably the appropriation and – literal – embodiment of electronic technologies in digital sound poetry has recently yielded a new dynamic to the performativity of poetic composition. With today’s technical possibility to sample and mediate minimal acoustic nuances in the here-and-now we are allowed a glimpse into the supplement of meaning generated by the meeting between text/script and voice/sound. Such post-human amplification of an intrinsically arch-human act accordingly finds its broader relevance broadside conventional aesthetic standards. 

   Carlos Muñoz - 03.10.2018 - 15:57

8. Infinite Verse

   Infinite literature is abundant, often conceptually simple, and often formally easy to understand. For critics and poets to explore infinite forms of literature further, it is important to clarify their essentials. In this discussion I will describe properties of infinite (or, to phrase it differently, “boundless”) poetry. I specifically consider verse — poetry which, when composed, is “turned” into lines in some typical or unconventional way. These verse works, or segmented verbal works, need not be digital: There are many infinite artworks that are not based on digital computation or even what people would usually describe as “technology,” while there are many finite (bounded) artworks that are computational. Some of the works I will cover are thought of as prose fictions, but I will demonstrate that to attain boundlessness they need at least one turn of the sort that is characteristic of verse.

   Nick Montfort - 06.09.2019 - 22:48

9. Mining Linguistic Content from Vast Audio and Video Archives for Multimodal Poetry

   This 20-minute presentation highlights research conducted as a Fellow in the MIT Open Documentary Lab developing a methodology and software for parsing linguistic and semantic information from vast quantities of audio and video files for playback and synchronization across networked computers. The presentation will focus on the expressive potential of this methodology to create new forms of multi-modal digital poems. The goal of this research is to extend recent advances in computational text analysis of written materials to the realm of audio and video media for use in a variety of different language centered media production contexts. This methodology and software provides the ability to parse vast quantities of audio and video files for topics, parts of speech, phonetic content, sentiment, passive/active voice and language patterns and then playback the video or audio content of the search for consideration in an aesthetic context. Queries that are intriguing can be saved and sequenced for playback as a poetic remix of linguistic patterns on one or multiple monitors.

   Vian Rasheed - 14.11.2019 - 01:25

10. Eccentric Peninsular: The Cornish Coast as a site for Deconstruction in Intermedia Poetry

    This paper analyses the use of ‘the coast’, particularly the coast of England’s South-West Peninsular, as a site for deconstruction in the works of a number of intermedia poet-artists. It is based primarily on selected readings of digital literature works which specifically engage with the South-West coast, covering works by Mark Goodwin, Andrew Fentham, Penny Florence and JR Carpenter (including the latest work by JR Carpenter ‘This is a Picture of Wind’, shortlisted for the New Media Writing Prize 2018). The reading considers the texts’ representations of ‘coasts’ and ‘peninsulars’ and their relationship to the de-stabilisation and frustration of positions of authority and authoritative structures (especially positions and structures of nationalism and sexism). The South-West peninsular can itself be considered de-centred and eccentric, remote from England’s administrative and financial centres and with a rich history of translocal interactions and migrations (c.f. Natalie Pollard) between other peripheral artistic and cultural regions and nations (especially those with Celtic heritage).

    Vian Rasheed - 18.11.2019 - 01:19

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