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A poetics
This rich collection is far more than an important work of criticism by an extraordinary poet; it is a poetic intervention into criticism. "Artifice of Absorption," a key essay, is written in verse, and its structures and rhythms initiate the reader into the strength and complexity of the argument. In a wild variety of topics, polemic, and styles, Bernstein surveys the current poetry scene and addresses many of the hot issues of poststructuralist literary theory. "Poetics is the continuation of poetry by other means," he writes. What role should poetics play in contemporary culture? Bernstein finds the answer in dissent, not merely in argument but in form--a poetic language that resists being easily absorbed into the conventions of our culture.
Meri Alexandra Raita - 19.03.2012 - 15:02
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The Material of Poetry
Description from the new edition (2012):
Poetry is philosophically interesting, writes Gerald L. Bruns, "when it is innovative not just in its practices, but, before everything else, in its poetics (that is, in its concepts or theories of itself)." In The Material of Poetry, Bruns considers the possibility that anything, under certain conditions, may be made to count as a poem. By spelling out such enabling conditions he gives us an engaging overview of some of the kinds of contemporary poetry that challenge our notions of what language is: sound poetry, visual or concrete poetry, and "found" poetry.
Source: amazon.com
Meri Alexandra Raita - 19.03.2012 - 15:13
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Notes on Conceptualisms
What is conceptual writing, how does it differ from Conceptual Art, what are some of the dominant forms of conceptualism,where does an impure or hybrid conceptualism fit in, what about the baroque, what about the prosody of procedure, what are the links between appropriation and conceptual writing, how does conceptual writing rely on a new way of reading, a “thinkership” that can shift the focus away from the text and onto the concept, what is the relationship between conceptual writing and technology or information culture, and why has this tendency taken hold in the poetry community now?
What follows, then, is a collection of notes, aphorisms, quotes and inquiries on conceptual writing. We have co-authored this text through correspondence, shared reading interests, and similar explorations. Notes on Conceptualisms is far from a definitive text, and much closer to a primer, a purposefully incomplete starting place, where readers, hopefully, can enter so as to participate in the shaping of these ideas.
(Source: Ugly Duckling Presse)
Meri Alexandra Raita - 21.03.2012 - 18:42
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Towards the delight of poetic insight
I am interested in the specific nature of POETIC insight and knowledge (Erkenntnis) in relation to other systemic spheres like, e.g., science or religion. As an approach to this subject my paper will discuss how poetic knowledge is addressed by the handling of ‘innovation’. Innovation will be observed as feature between reflexivity and potentiality in poetic experimentation. These poetological categories will be related to both practical and theoretical forms of technology driven language art. As exemplary forms I will focus on the radio play "Die Maschine" (The Machine, 1968) which simulates an Oulipo computer and was written and realized by George Perec and on its poetic comment by Florian Cramer (pleintekst.nl, 2004) as well as on the historical concept of ‘artificial poetry’ by Max Bense (in respect of his 100st anniversary) in the light of recent poetological concepts of innovation.
(Source: Author's abstract)
Audun Andreassen - 14.03.2013 - 15:18
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Fragments des mémoires d'un poème
Fragments des mémoires d'un poème
Scott Rettberg - 26.06.2013 - 10:13
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Jumping to Occlusions
"Jumping to Occlusions" is perhaps the first thorough statement of a poetics of online space. In the present hypertextual trickster edition, a lively investigative language of the link is employed helping to develop this essay's written argument through its own hypertextuality -- its jumps, sidebars, graphics, embedded sound files, misleadings, and other features. This essay explores electronic technology's opportunities for the production, archiving, distribution, and promotion of poetic texts but most importantly, argues that electronic space is a space of writing. For previous excursions into this a written terrain of links and jumps one need only look to the language experiments of certain poets writing in this century. Such poets include Gertrude Stein, Charles Olson, Robert Creeley, and Language-related experimentalists such as Charles Bernstein, Ron Silliman, and Susan Howe. Electronic writing, like previous instances of writing, engages the double "mission" of writing evident in some of this experimental poetry: to varying degrees, writing is about a subject, but also about the medium through which it is transmitted.
Scott Rettberg - 01.07.2013 - 12:22
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Au seuil du livre : les œuvres hypermédiatiques d’Andy Campbell (The Rut, Surface, Paperwound)
Avec l’avènement de la cyberculture, on aurait pu croire, sinon à la disparition du livre, du moins à son usure en tant que modèle. Mais, dans les faits, nous assistons plutôt sur le Web à une prolifération des figures du livre. À cet égard, les œuvres hypermédiatiques d’Andy Campbell sont révélatrices. Sur son site, intitulé Dreaming Methods, il élabore une véritable poétique de la figure du livre et du papier en hypermédia. Toutefois, on le démontrera, chez Campbell, le livre fait moins l’objet d’un hommage qu’il est une figure à déconstruire par l’hypermédia (Cf. Paperwounds, et Surface). Nous nous attacherons à l’analyse précise de The Rut, présenté comme : « A self published book that never get back the front cover ». L’œuvre est composée des quinze versions du péritexte du livre simulé de Max Penn. The Rut, apparaît dans un premier temps comme un livre sans contenu, où la narration est déportée dans la fictionnalisation d’un péritexte, dont le sérieux et le formalisme se délite à chacune de ses occurrences.
Jill Walker Rettberg - 23.08.2013 - 13:31
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Reading Project: A Collaborative Analysis of William Poundstone’s Project for Tachistoscope
Electronic literature is a rapidly growing area of creative production and scholarly interest. It is inherently multimedial and multimodal, and thus demands multiple critical methods of interpretation. Reading Project: A Collaborative Analysis of William Poundstone’s Project for Tachistoscope {Bottomless Pit} is a collaboration between three scholars combining different interpretive methods of digital literature and poetics in order to think through how critical reading is changing—and, indeed, must change—to keep up with the emergence of digital poetics and practices. It weaves together radically different methodological approaches—close reading of onscreen textual and visual aesthetics, Critical Code Studies, and cultural analytics (big data)—into a collaborative interpretation of a single work of digital literature.
Ana Castello - 02.10.2018 - 19:40
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Thoreau’s Radicle Empiricism: Arboreal Encounters and the Posthuman Forest
It is time to liberate the forest from the anthropocentric metaphor. Donna Haraway, endorsing Eduardo Kohn’s How Forests Think (2013), says this clearly: “A thinking forest is not a metaphor.” Recent work by Bruno Latour and Isabelle Stengers on “Gaia,” along with Timothy Morton’s concept of the “hyperobject,” demands that we reevaluate our tendency toward metaphor when dealing with trees.
Kohn’s work, along with Michael Marder’s and Peter Wohlleben’s, suggests that we emphasize the cognitive life of trees, rather than harnessing the image of trees as metaphors for human cognition. We must view the forest as a thinking entity in its own right.
In this paper, I examine Henry David Thoreau’s writing as a model for an encounter with trees that moves beyond mere metaphor. Thoreau draws on his position as an American Transcendentalist and an empirical naturalist to approach trees both philosophically and scientifically. As a poet, he does not make poetry out of trees, but instead sees the poetry that trees themselves create.
Cecilie Klingenberg - 26.02.2021 - 14:36
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A Platform Poetics: Computational Art, Material and Formal Specificities, and 101 BASIC Poems
My digital art is highly computational, or process intensive—it is more about code and symbol manipulation, and less about data, the visualization of data, or multimedia effects. But beyond this, what I do often explores specific computer platforms. In this essay I describe how my project 101 BASIC Poems is part of a platform practice engaging the Commodore 64, the Apple II series of computers, and the BASIC programming language. My project 101 BASIC Poems is an initiative to develop just more than a hundred computational artworks, each one not just a digital text but also a computer program that can and should be run. On the computational end of things, a major inspiration is 101 BASIC Computer Games, a collection of BASIC programs that fired the imaginations and scaffolded the programming ability of many people in the late 1970s and early 1980s.
Nick Montfort - 15.11.2021 - 00:24
