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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
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WordHack Anthology: 2014-2019
WordHack Anthology brings together projects and documentation presented during the first five years of WordHack, a monthly presentation series at Babycastles in NYC centered around the intersection of language and technology. WordHack is designed to be an open meeting space for people across disciplines to see what each other are working on and thinking about, from coders interested in the creative side, to writers interested in new forms writing can take, to game makers looking for new ways to play with words, to academics researching the newly possible.
(Source: https://toddwords.itch.io/wordhack-anthology)
Stian Hansen - 19.08.2019 - 13:12
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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
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GPT-based Generation for Classical Chinese Poetry
We present a simple yet effective method for generating high qual- ity classical Chinese poetry with Generative Pre-trained Language Model (GPT)[5]. The method adopts a simple GPT model, without using any human crafted rules or features, or designing any additional neural compo- nents. While the proposed model learns to generate various forms of clas- sical Chinese poems, including Jueju(绝句), Lu ̈shi(律诗), various Cipai(词牌) and Couples(对联), the generated poems are of very high quality. We also propose and implement a method to fine-tune the model to generate acrostic poetry. To the best of our knowledge, this is the first to em- ploy GPT in developing a poetry generation system. We have released an online mini demonstration program on Wechat1 to show the generation capability of the proposed method for classical Chinese poetry.
Jill Walker Rettberg - 18.09.2019 - 11:08
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Podcast: Nick Montfort, “Poet/Programmers, Artist/Programmers, and Scholar/Programmers: What and Who Are They?”
Computer programming is a general-purpose way of using computation. It can be instrumental (oriented toward a predefined end, as with the development of well-specified apps and Web services) or exploratory (used for artistic work and intellectual inquiry). Professor Nick Monfort’s emphasis in this talk, as in his own work, is on exploratory programming, that type of programming which can be used as part of a creative or scholarly methodology. He says a bit about his own work but uses much of the discussion to survey how many other poet/programmers, artist/programmers, and scholar/programmers are creating radical new work and uncovering new insights.
09:08 p5.js
12:38 The Deletionist
14:26 Permutated Poems of Poems of Brion Gysin
18:18 Curveship
21:00 A Noise Such As a Man Might Make
24:03 Oral Poetics
29:35 Q&AScott Rettberg - 01.10.2019 - 14:31
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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
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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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Espacement de Lecture
Florence’s presentation explores how the “espacement” (Mallarme, Derrida) intrinsic to all writing changes in a born-digital context.
The essay is a poetic exploration of how digital writing and reading operate in a new dynamic, exploring existing pathways and structures, innovatively correlated. But this simple change in relations - this new dynamic - does something further. Not only does digital reading/writing make visible and active existing structures of reading and language, it also creates new ones
Ole Samdal - 24.11.2019 - 22:40
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Taper #5: Pent Up
Each issue of Taper is edited by a collective. Editing and production is done in coordination with The Trope Tank at MIT, a laboratory directed by Bad Quarto proprietor and publisher Nick Montfort. Taper is not officially associated with MIT or hosted on an MIT server, however.
For the fifth issue, the editorial collective consisted of Kyle Booten, Angela Chang, Leonardo Flores, Judy Heflin, and Milton Läufer.
A constraint was established: the core part of each poem—the HTML on the page after the header—could be no more than a tiny 2KB (2048 bytes). Members of the editorial collective recused themselves from discussion of their own submissions. The collective works independently of the publisher to make selections. We thank Sebastian Bartlett for his help in managing the template.
The work in this fifth issue is written in HTML5, using ES6. It has been tested and found to work properly on current Firefox and Chrome/Chromium browsers across current platforms, as well as on Mac OS X Safari; everything does not work on Edge and iOS Safari.
Scott Rettberg - 16.10.2020 - 16:10
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Approaching the world of an instapoem
Instapoetry is entangled in the ecology of Instagram and the digital media ecology at large, which despite instapoetry’s very conservative output (images of text or images with textual elements), still has caused questions regarding how to approach it. While a lot of poetry on Instagram is simply images of poetry remediated on the social media, there also exist a type of platform literature, or platform poetry, which in this paper is treated as instapoetry proper.
With instapoetry proper the intent of publishing it on Instagram is something that affects how we should approach it aesthetically. From a media ecological and posthumanist perspective; while we use social media to do things, it also affects how we do things.
Cecilie Klingenberg - 20.02.2021 - 14:17
