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1. Screening a Digital Visual Poetics

   Screening a Digital Visual Poetics

   Eric Dean Rasmussen - 12.02.2012 - 23:27

2. Review of Digital Art and Meaning: Reading Kinetic Poetry, Text Machines, Mapping Art, and Interactive Installations, by Chris Funkhouser

   Review of Digital Art and Meaning: Reading Kinetic Poetry, Text Machines, Mapping Art, and Interactive Installations, by Chris Funkhouser

   Patricia Tomaszek - 13.02.2012 - 00:53

3. Primal Affective Ground and Digital Poetry

   Since the first symbolic scripts emerged, language has always been visual. My own work explores how language's visual can be read both as art and as poetry; how affect is amplified by sound; how generative and combinatorial layouts of text-video-sound open art from linear readings into infinite variations perspectives.
   For ELO, I am interested in creating an artist talk that utilizes content derived from two essays on digital poetry written for my comprehensive exams in the summer of 2009. The original essays are entitled: "Affecting Language: interdisciplinary explorations of emotion (new media, neuroscience, phenomenology and poetry)" and "Defining Creative Conduits: mediations on writing in digital media". Since both essays (as take-home exams) were each written over a brief 72 hour span, I look fwd to the opportunity of synthesizing and refining their argument into a presentation format.
   (Source: Author proposal)

   Eric Dean Rasmussen - 20.03.2012 - 12:42

4. E-CyberDigital Poetry: To Grasp or to Build a Genre Identity through a Term’s Choice?

   In recent years, the field of digital poetry had at least three major critical monographs
   discussing the genre and its state-of-the-art. Loss Pequeño Glazier (2002), Brian Kim
   Stefans (2003) and Christopher T. Funkhouser (2007) have not only introduced new
   critical perspectives, but have also discussed the genre’s problematic definition and its
   denominations’ variety: e-poetry, cyberpoetry and digital poetry.
   Considering Theo Lutz’s Stochastische Texte (1959) as the first work of
   programmable poetry, one should note the genre’s long history of practice in spite of
   its shorter history of critical writing. Therefore, the way authors have been coining
   and defining the genre itself claims for a theorization standpoint and helps shaping the
   field towards a specific path and perhaps a crystalized historical construction.
   Do the referenced terms position their authors in a similar flow of thought? By
   following a concept’s trajectory and the author’s choice, one must consider the fact
   that its crystallization will shape future critical writing. In this sense, it is important to
   

   Alvaro Seica - 04.02.2015 - 19:09

5. 'The frame of the sparkling graphics': the window and the screen in contemporary Irish poetry

   This conference paper discusses the visual tropes of the window and the screen in the work of Derek Mahon and Alan Gillis. More specifically, the focus is on how the architectural window and the digital screen operate as framing devices in their works, and how they enable the poets to interrogate the interrelationship between poetry as verbal discourse, and visual representation. The shift from the architectural window to a digital window on the screen also marks a shift in understanding questions of viewpoint and perspective in contemporary culture.

   Anne Karhio - 05.03.2015 - 18:01

6. Writing with the Code: A Digital Poetics

   This paper (presented at Digital Arts and Culture Conference, Bergen 2000) proposes a digital poetics, which focuses on the possible digital transformations of writing and reading with examples from current cybertextual literature. The paper discusses how programming structures (algorithms, cybernetics, object oriented programming, hypertext) can be interpreted as literary forms. The outcome is a literary way to read programming structures and a discussion of a digital literary poetics. As a consequence this paper argues (by taking some initial steps) for further crossdisciplinary research in the field of digital writing between literary theory and computer science as a way to understand the general cultural impact of the computer and as a way to further develop creative innovation.

   (Source: Author's abstract)

   Alvaro Seica - 06.05.2015 - 13:26

7. Moving Text in Avant-garde Poetry: Towards a Poetics of Textual Motion

   Recent innovations in digital environments may suggest that the possibility to manipulate the literal movement of the text could be one of the essential variables separating digital literature from printed literature. This bipolar distinction between digital and print media hides, however, a complex historical background. A fuller comprehension of movement as a variable in literature calls for the clarification of the historical development from the "analogies of movement" in printed literature to the innovations in video art, experimental film and multimedia poetry.

   In classifying types of textual movement at least the following questions are relevant: What can be kinetic in the poetic text? How does the movement take place? Where does it take place? What is the result of the movement? And finally, what (or who) makes the text move? The article develops conceptual divisions that make answering these questions possible and thus helps to make the question of the specificity of digitally manipulated movement more precise.

   (Source: Author's Abstract)

   Alvaro Seica - 06.05.2015 - 13:52

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