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1. 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

2. Mining the Arteroids Development Folder

   In September 2008 Jim Andrews shared with me the “Arteroids Development Folder:” a collection of drafts, versions, source files, and other materials that document the work that led to the publication of his “poetic shoot 'em up" Arteroids (http://www.vispo.com/arteroids/index.htm).

   Audun Andreassen - 03.04.2013 - 09:54

3. We have never had a mind of our own: A Poetics of the Integrated Circuit

   The black-and-gray background of the splash page for the performance artist Stelarc’s website appears to be an abstraction of memory blocks, logic boards, and input/output pads. Into it is plugged a block of small white introductory text, a blip of red text listing devices necessary to access the site, and a sketch showing a body wired with EEGs to catch the brainwaves, ECGs to trace the heartbeat, EMG’s to monitor the flexor muscles, and an array of contact microphones, position sensors, and kineto-angle transducers to chart everything else. In this integrated circuit, voltage-in probes the body; voltage-out extends it. In case the point is not yet clear, two neon-bright chunks of text in the middle of the page blink on and off to announce it: “THE BODY IS,” the first lines read all in a rush, then slowly, spelling it out, “O-B-S-O-L-E-T-E.” In this paper, I would like to argue that the transformation from an organic, industrial society to the polymorphous information system Stelac enacts allows us to think back to machine-human collaborations overlooked in expressivist approaches to poetry.

   Audun Andreassen - 03.04.2013 - 16:02

4. My Own Private Augmented Reality: ulillillia's Mind Game

   This paper looks at Nick Smith's (aka ulilllillia) "Mind Game" as an illustration of how augmented reality systems, while based in digital media, do not necessarily rely on digital software or hardware, but in the influence of digitally-mediated practices on the imagination. !Smith's "Mind Game" constitutes a form of experiential poetry mediated through augmented reality.

   (Source: Author's abstract for ELO_AI)

   Audun Andreassen - 10.04.2013 - 11:33

5. Nine Gestures for J.D. Salinger

   A poetic tribute to the writings of J.D. Salinger, this work explores Nine Stories (1953), by inviting participants to write their thoughts into a book in response to nine individual prompts, each corresponding to one of the stories. Interacting with the book reveals a series of poems that follow thematic gestures from the original writings.

   To interact, open the book to any one page, read the typed prompt and then write down either a single word, or short phrase as a response, writing onto the adjoining page’s writable section using the pen. A nearby screen responds by offering several composed verses with each inscription. When a section is filled, that gesture is considered complete.

   (Source: Author's description for ELO_AI)

   Scott Rettberg - 10.04.2013 - 23:29

6. Feed

   Our deeply ingrained need to trust language enables Feed to generate an endless simulacrum of social commentary cum mythopoeic narrative spontaneously from largely random associations of charged words. It presents cultural observation through the blind eye of chance. The blank passing moment becomes the creator of mythos. It allows us the opportunity to turn ambiguity into poetry, absurdity into satire, unexpected fortuitous alignments into insight. Feed chronicles the mechanisms of the chronicle rather than its subjects. It removes “realism” from the equation, flirting with the meaningless and parading arbitrary associations before the reader under the banners of archetype and metaphor. Feed historicizes, editorializes, moralizes, sings, dances, and wears funny hats, all in the name of “analyzing” its own inventions.

   (Source: Author's description for ELO_AI Conference)

   Scott Rettberg - 11.04.2013 - 11:04

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