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  1. Poesi för en liten grupp

    This article briefly discusses the works of three Swedish poets (Emil Boss, Anna-Maria Ytterbom, and Johannes Heldén), and ultimately finds them confusing and tedious. The third piece, Entropi by Heldén, is a work of ELit. Dahlerus criticizes it as "Mycket svår poesi för ovana lyrikläsare" [Very difficult for inexperienced poetry readers]. He complains that the work forces him to become "något slags lyrikdetektiv" [some kind of poetry detective] to discover clues to the meaning of the poetry. Though he acknowledges that there is a place for "oläsbar poesi" [unreadable poetry], he asserts that too much of this kind of poetry causes him to wish for a new poetry - one that "vågar vara tydlig, vågar kommunicera" [dares to be clear, dares to communicate]. The three reader comments following the article indicate that they all strongly disagree with Dahlerus.

    Melissa Lucas - 16.10.2012 - 11:48

  2. Digital litteratur -et laboratorium for den digitale kultur

    "Kulturministeriets arbejdsgruppe omkring "Kunsten i Netværkssamfundet", indkaldte i foråret 2001 en række sagkyndige til at bidrage med hvert deres indlæg i debatten. Den foreløbige redegørelse blev offentliggjort udelukkende i elektronisk form 12/7 og vil blive opfulgt af et lukket debatmøde 28/8, hvorefter arbejdsgruppen fremlægger sin endelige rapport."
    Følg diskusjonen online hos Kulturministeriet: http://kum.dk

    Sissel Hegvik - 07.03.2013 - 23:42

  3. Reading the Drones: Working Towards a Critical Tradition of Interactive Poetry Generation

    Computer-generated poetry is now almost sixty years old, stretching from the work of Christopher Strachey, Jackson Mac Low and Theo Lutz in the 1950s to the wealth of interactive poetry generators freely available online today. According to Antonio Roque, this history comprises four distinct (but overlapping) ‘traditions’: the Poetic; the Oulipo; the Programming; and the Research. But despite the inherent ‘literariness’ of the enterprise, one tradition is conspicuous by its absence: the ‘Critical’. It is the object of this paper to rectify this omission, proposing a mode of critical engagement that might allow interactive poetry generators to be naturalised as objects of textual study according to the protocols of literary criticism. It seeks to achieve this by means of a comparative analysis between what might be construed as the first interactive poetry generator – Tristan Tzara’s ‘How to Make a Dadaist Poem’ – and one of the most recent (and most powerful) – Chris Westbury’s JanusNode.

    Kriss-Andre Jacobsen - 04.10.2013 - 11:14

  4. Activist Media Poetics: Electronic Literature Against the Interfacefree

    For the last year or two I’ve been focusing most of my research and writing on the notion of ‘interface’ – a technology, whether book or screen, that is the intermediary layer between reader and writing. What I’ve found is that ‘interface’ gives us a wedge to approach the broad and complex question of how the reading and writing of poetry have changed in the digital age and how the digital age has in turn changed the way in which we understand what I call “bookbound” poetry. It seems to me that a discussion of digital poetry in terms of interface – a discussion whose methodology is driven by the field of Media Archaeology – could be a crucial intervention into both poetry/poetics and media studies in that it meshes these fields together to 1) make visible the Human-Computer interfaces we take for granted everyday; and 2) to frame certain works of electronic literature as instances of activist media poetics.

    Ana Castello - 02.10.2018 - 18:39