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The Digital Poem against the Interface Free
Recent e-literature by Judd Morrissey and Jason Nelson represents a broad movement in e-literature to draw attention to the move toward the so-called “interface free” – or, the interface that seeks to disappear altogether by becoming as “natural” as possible. It is against this troubling attempt to mask the workings of the interface and how it delimits creative production that Judd Morrissey creates “The Jew’s Daughter” – a work in which readers are invited to click on hyperlinks in the narrative text, links which do not lead anywhere so much as they unpredictably change some portion of the text. Likewise working against the clean and transparent interface of the Web, in “game, game, game and again game,” Jason Nelson’s hybrid poem-videogame self-consciously embraces a hand-drawn, hand-written interface while deliberately undoing videogame conventions through nonsensical mechanisms that ensure players never advance past level 121/2. As such, both Morrissey and Nelson intentionally incorporate interfaces that thwart readers’ access to the text so that they are forced to see how such interfaces are not natural so much as they define what and how we read and write.
Eric Dean Rasmussen - 05.10.2011 - 09:09
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Communities/Commons: A Snap Line of Digital Practice
“Communities/Commons: A Snap Line of Digital Practice” presents a brief history of digital poetry, from the perspective of the Electronic Poetry Center (EPC), Buffalo, and the international E-Poetry Festivals of digital literature, art, and performance (E-Poetry). The paper engages the discipline from various perspectives, considering its relation to historic contextualizing movements and institutional mechanisms. Determining a renewed vision of E-Poetry community, it is argued, are its exuberant origins: (1) the U.S. small press movements of the later Twentieth century; (2) the activities and philosophies of the Electronic Poetry Center; (3) its self-definition as more broadly-conceived than that of any specific category of digital literature; (4) the pre-existing literary ground of Black Mountain, Language Poetry, and related practices; (5) the vibrancy of the as-then-constituted Poetics Program at Buffalo, and; (6) a “symposium of the whole”, the continued emerging importance of enthnopoetic localizations to an eventual realization of contemporary poetics. Finally, a call is made for the field being adaptable and more generous with its frames of reference.
Patricia Tomaszek - 29.04.2013 - 15:57
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From Concrete to Digital Poetry: Driving Down the Road of Continuity? A Personal Report from Norway
In this contribution I discuss my practice as concrete and visual poet with a special mode of creation from paper-based works to digital video-poems. I trace my path through the paper by describing some of my earlier works that built the basis for the concepts behind the animated works svevedikt (2006), LYMS (2009), when (2011), and natyr (2013). My aim is to express my artistic position at the time I visited the E-Poetry Festival in Paris 2007, and thereby entered the “e-lit-family” for the first time. It is my wish to explain how I experienced the festival in several ways: the relation between the presentation of papers and works, the variety of the works and performances, the impressions of meeting a well-established community, and a comparison between the festival and arrangements in the late sixties from an ideological perspective. To accomplish this, I will (after a short discussion of terms and contextualization) provide a description of my background as visual artist, and the different sorts of poetry I have created before I entered the electronic literature community in 2007. Then I want to focus on how I was influenced by the festival and the community.
Patricia Tomaszek - 29.04.2013 - 16:03
