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1. Typing the Dancing Signifier: Jim Andrews' (Vis)Poetics

   This study focuses on the work of Jim Andrews, whose electronic poems take advantage of a variety of media, authoring programs, programming languages, and file formats to create poetic experiences worthy of study. Much can be learned about electronic textuality and poetry by following the trajectory of a poet and programmer whose fascination with language in programmable media leads him to distinctive poetic explorations and collaborations. This study offers a detailed exploration of Andrews' poetry, motivations, inspirations, and poetics, while telling a piece of the story of the rise of electronic poetry from the mid 1980s until the present. Electronic poetry can be defined as first generation electronic objects that can only be read with a computer--they cannot be printed out nor read aloud without negating that which makes them "native" to the digital environment in which they were created, exist, and are experienced in. If translated to different media, they would lose the extra-textual elements that I describe in this study as behavior.

   Jill Walker Rettberg - 04.03.2011 - 21:58

2. Creativity Support for Computational Literature

   The creativity support community has a long history of providing valuable tools to artists and designers. Similarly, creative digital media practice has proven a valuable pedagogical strategy for teaching core computational ideas. Neither strain of research has focused on the domain of literary art however, instead targeting visual, and aural media almost exclusively. To address this situation, this thesis presents a software toolkit created specifically to support creativity in computational literature. Two primary hypotheses direct the bulk of the research presented: first, that it is possible to implement effective creativity support tools for literary art given current resource constraints; and second, that such tools, in addition to facilitating new forms of literary creativity, provide unique opportunities for computer science education.

   Patricia Tomaszek - 04.07.2011 - 00:40

3. Aesthetic Animism: Digital Poetry as Ontological Probe

   This thesis is about the poetic edge of language and technology. It inter-relates both computational creation and poetic reception by analysing typographic animation softwares and meditating (speculatively) on a future malleable language that possesses the quality of being (and is implicitly perceived as) alive. As such it is a composite document: a philosophical and practice-based exploration of how computers are transforming literature, an ontological meditation on life and language, and a contribution to software studies. Digital poetry introduces animation, dimensionality and metadata into literary discourse. This necessitates new terminology; an acronym for Textual Audio-Visual Interactivity is proposed: Tavit. Tavits (malleable digital text) are tactile and responsive in ways that emulate living entities. They can possess dimensionality, memory, flocking, kinematics, surface reflectivity, collision detection, and responsiveness to touch, etc…. Life-like tactile tavits involve information that is not only semantic or syntactic, but also audible, imagistic and interactive.

   Patricia Tomaszek - 16.03.2012 - 16:49

4. Digital Literature: Theoretical and Aesthetic Reflections

   The emergence of a new phenomenon – digital literature – within the field of
   literary studies calls for the reorganization and creation of new theoretical and
   analytical repertoires. As models of communication change, so do
   reception and production processes accompanying these changes. Within these
   altered scenarios, the dissertation Digital Literature: Theoretical and Aesthetic
   Reflections is a response to the aesthetic and theoretical challenges brought on by
   computer-based literature. As a methodological strategy, the dissertation articulates
   recent trends in the theory of digital aesthetics – remediation (BOLTER),
   eventilization (HAYLES), correlations of performativity, intermediality and
   interactivity with meaning-driven analysis (SIMANOWSKI), Medienumbrüche
   (GENDOLLA & SCHÄFER) – with theories of production of presence
   (GUMBRECHT), autopoietic communicative models (LUHMANN) and closereadings
   of digital works. By scripting a dialogue with key theorists from print
   literary theory as well as new media theorists and artists in the burgeoning field,

   Luciana Gattass - 08.05.2012 - 14:38

5. Next Generation Literary Machines: The “Dynamic Network Aesthetic” of Contemporary Poetry Generators

   This dissertation investigates the current state of digital poetry generators. The study argues that today’s poetry programs embody a new stage distinct from second- generation digital literature. The new stage projects a “dynamic network aesthetic,” reflective of four trends in Web 2.0 cultural production: the potential for mass aggregation; the adoption of participatory platforms; the instability of textual material; and the unpredictability of individual actors. The chapters interrogate the ways in which the four characteristics emerge in three categories of poetry generators: programs that manipulate user input; programs that manipulate Internet text; and programs that generate autonomous content. Corresponding with the three categories, three theorists of the machine inform the discussion. Donna Haraway, Jean Baudrillard, and Gilles Deleuze each provide apt approaches to twenty-first-century technology. However, each theorist also demonstrates the ways in which recent models of the machine do not yet fully account for the “dynamic network aesthetic” of the Internet era.

   Scott Rettberg - 08.01.2013 - 17:07

6. Formalisation d’un modèle fonctionnel de communication à l’aide des technologies numériques appliqué à la création poétique

   This work develops a theoretical model of the communication which is established in e-poetry between an author and a reader by use of two computers. One is used to create the work and the other to read it. The files are transmitted with a CDROM.

   We make first a diachronic study of the field. It shows that conceptions gradually evolve. The study of visual forms shows that the mind representation of the system made by the actors are important in this communication.

   The model of linked text is purposed. The concept of text depends upon the global representation of the situation for each actor. This model is developed in cognitive and semiotic approaches. The notions of texte-à-voir, texte-écrit and texte-lu are introduced.

   Scott Rettberg - 28.06.2013 - 17:02

7. Writing Coastlines: Locating Narrative Resonance in Transatlantic Communications Networks

   The term ‘writing coastlines’ implies a double meaning. The word ‘writing’ refers both to the act of writing and to that which is written. The act of writing translates aural, physical, mental and digital processes into marks, actions, utterances, and speech-acts. The intelligibility of that which is written is intertwined with both the context of its production and of its consumption. The term ‘writing coastlines’ may refer to writing about coastlines, but the coastlines themselves are also writing insofar as they are translating physical processes into marks and actions. Coastlines are the shifting terrains where land and water meet, always neither land nor water and always both. The physical processes enacted by waves and winds may result in marks and actions associated with both erosion and accretion. Writing coastlines are edges, ledges, legible lines caught in the double bind of simultaneously writing and erasing. These in-between places are liminal spaces, both points of departure and sites of exchange. One coastline implies another, implores a far shore. The dialogue implied by this entreaty intrigues me.

   J. R. Carpenter - 22.11.2014 - 21:44

8. A Cultural Analysis of Resistances to Digital Poetries

   A Cultural Analysis of Resistances to Digital Poetries

   Scott Rettberg - 27.08.2019 - 15:02

9. The broken poem: Ephemerality, glitch and de-performance in digital (and non-digital) poetry

   The Broken Poem: Ephemerality, Glitch, and De-Performance in Digital (and Non-Digital) Poetry explores a few ways in which digital poetry, poetry that is written in programmable media and is intended to be read on computers or other digital devices, is acting to tactically resist various forms of oppression through what I am calling “breakage.” Breakage is, in this sense, an error or disruption in a perceived continuity. For example, I look at digital poems that take advantage of the fact that, because of software or hardware upgrades, they have a limited functional life. The poets’ embrace of their poems’ ephemerality actively resists market forces, cultural or professional demands on the poet to participate in processes of canonization, and the like. I also explore the idea of “glitching poetic language,” in which existing texts are digitally manipulated, digitally “broken” through a process in which the poet provokes errors. This is a remix strategy with aleatoric results that shifts the reader’s focus from the referential elements of the text, or the fragments of text, to an error, a break.

   Åse Marie Våge Beheim - 16.09.2020 - 11:23