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1. Italo Calvino’s Six Memos as ethical imperative in J.R. Carpenter’s The Gathering Cloud

   In 1985, Italo Calvino wrote a series of lectures (later published as ‘memos’) in which he proposed six values he deemed crucial to literature as it moved into the next millennium: lightness, quickness, ‘crystal’ exactitude, visibility, multiplicity, and consistency. Though never a writer of electronic literature, Calvino has frequently been associated or referenced in relation to digital works. J.R. Carpenter’s web-based work The Gathering Cloud (2016) (hereafter TGC) exhibits Calvino’s values. TGC is informed by Howard’s 1803 Essay on the Modifications of Clouds. Howard’s ‘frontispiece’ and five ‘plates’ are used in Carpenter’s web-based work. Poetry is then superimposed on these repurposed illustrations. Situated ‘within’ the poetry, animated gif collages play.

   David Wright - 04.09.2019 - 02:28

2. Diktet i den digitale støpeskjeen

   Hans Kristian Rustad pressents his research project on poetry in the "Digital Melting Pot."

   Hans Kristian Rustad presenterer forskningsprosjektet sitt, som er en del av Kulturrådets forskningssatsing i 2019 Digital kultur, estetiske praksiser

   Scott Rettberg - 22.10.2019 - 09:55

3. Rui Torres’ Cantiga in class – digital poetry in Portuguese schools

   Although the most recent curricular documents issued by the Portuguese Ministry of Education (ME, 2017; ME, 2018) recommend students to read multimodal texts, there is still a print-based culture among Portuguese schools and among language and literature teachers. As part of the project “Inanimate Alice: Translating Electronic Literature for an Educational Context”, held at the Centre for Portuguese Literature – University of Coimbra, we have already conducted some experiments with digital narrative in Portugal (Machado et alii, 2018), which we hope to be extended by the inclusion of Alice Inanimada (the Portuguese version of Inanimate Alice) in the National Reading Plan in 2018, as Ana Maria Machado, the project coordinator, presented at the ELO Conference 2018. However, we do not have available data concerning teaching digital poetry to children and teenagers in our country, which led me to include Cantiga in the corpus for the empirical research I am conducting for my doctoral thesis in Materialities of Literature.

   Vian Rasheed - 11.11.2019 - 22:34

4. GRIOT's Tales of Haints and Seraphs: A Computational Narrative Generation System

   D. Fox Harrell considers what is computational about composition, and describes the GRIOT system for generating literary texts.

   The source is the essay-review on www.electronicbookreview.com written by D. Fox Harrell

   Kristina Igliukaite - 15.05.2020 - 13:21

5. Novissima verba: huellas digitales / electrónicas / cibernéticas en la poesía latinoamericana

   Luis Correa-Díaz se pregunta en esta serie de ensayos si la literatura electrónica está o no hoy por alcanzar esa velocidad de escape de la fuerza gravitacional de la literatura tradicional. ¿Cómo se negocia en esta época el valor literario, el estatus de lo escrito, la desaparición o permanencia del libro en esta etapa de transición y adaptación literaria?
   Pareciera haber en español una escasez de discursos críticos e iniciativas de estudio que den cuenta de estas significativas mutaciones culturales. De allí la especial importancia de este libro que se presenta de referencia obligada, especialmente para los estudios de obras iberoamericanas, en los que se centra esta publicación.

   (Source: Belén Gache, Publisher's website)

   Alvaro Seica - 25.08.2020 - 10:58

6. 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

7. ‘Lost water! Remains Scape?’: Transformation Waterscapes in Coimbatore from past to present through digital poetry

   ‘Lost water! Remains Scape?’: Transformation Waterscapes in Coimbatore from past to present through digital poetry

   Milosz Waskiewicz - 25.05.2021 - 14:51

8. Poetry for the People? Modern Chinese Poetry in the Age of the Internet

   How has the Internet transformed Chinese poetry today? How has the democratization of publishing poetry online challenged the traditional gatekeepers, and how has this affected the quality of modern poetry? Heather Inwood explores these questions and reveals how such tectonic shifts have reinforced the status of poetry as a social form of culture, one that possesses great symbolic importance for China no matter who is doing the writing or critiquing.

   Daniel Johannes Flaten Rosnes - 13.06.2021 - 02:43

9. Grappling With the Actual: Writing on the Periphery of the Real

   This essay considers literary realism in relation to two of my own recent works of digital literature: This is a Picture of Wind: A Weather Poem for Phones, and The Pleasure of the Coast: A Hydro-graphic Novel. Both of these web-based works grapple with the actual world we live in: a post-digital world, in which invisible layers of data inform our daily thoughts and actions; a post-human world, of vast oceans and ceaseless winds. These works use the affordances of the internet to call attention to the historical, colonial, elemental, and material substrate of the internet; both attempt to represent the reality of the vast corpus of non-human writing which lurks beneath the mere appearance of the screen. Methodologically, this essay grapples with the material and contextual actualities of these works by turning its attention to earlier analogous moments in the intertwined histories of technology, science, and writing. In particular, this essay is concerned with the technology of the ship, the science of measurement, and the writing of the vast non-human systems of coastlines and winds.

   J. R. Carpenter - 27.08.2021 - 12:54

10. Nested Folders: On Birds in Digital Poetry

    Digital poets have long explored the representation of birds’ physical presence and their mediation through visual and sonic technologies. Noah Wardrip-Fruin attributes the “first experiment with digital literature and digital art of any kind” to Christopher Strachey (302). The word “duck” appears in Strachey’s Love Letter generator, programmed on the Manchester University Computer in 1952. The word is used as a term of endearment; it does not refer to a specific bird. Birds and bugs intermingle in Jörg Piringer’s early iOS app, abcdefghijklmnopqrstuvwxyz (2010). In this piece, the winged creatures are not represented pictorially, but rather, by behaviour. The user selects letter forms from the edges of the screen, which then soar, in the case of birds, or jitter, in the case of crickets. Maria Mencia’s earlier work, Birds Singing Other Birds' Songs, was first exhibited at the Medway Gallery in 2001. As is the case in Piringer’s app, the birds are composed of letter forms.

    J. R. Carpenter - 25.04.2022 - 10:42

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