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1. Between Code and Motion: Generative and Kinetic Poetry in French, Portuguese, and Spanish

   This article looks at works of electronic poetry in French, Portuguese, and Spanish. While video and digital experiments in these languages date back to the 1970s and 1980s, the works considered here are mostly post-World Wide Web, i.e., produced between the mid-1990s and 2009. The article discusses the work of Philippe Bootz, founding member of Lecture, Art, Innovation, Recherche, Écriture (LAIRE) and theorist of programmed literature. It comments on the relationship between digital computer code and literature, addressing the materiality of the display and poetics. Other topics explored include programming poetry, patterns of specific writing processes, and automatic text generation. Through analysis of computer-assisted multimodal and retroactive forms, this essay discusses the role played by code and motion in digital works. It also stresses the function of language as cultural form in electronic literature.

   (Source: Author's abstract)

   Scott Rettberg - 23.01.2013 - 23:20

2. The Computational Sublime in Nick Montfort's ‘Round’ and ‘All the Names of God’

   What if the post-literary also meant that which operates in a literary space (almost) devoid of
   language as we know it: for instance, a space in which language simply frames the literary or
   poetic rather than ‘containing’ it? What if the countertextual also meant the (en)countering of
   literary text with non-textual elements, such as mathematical concepts, or with texts that we
   would not normally think of as literary, such as computer code? This article addresses these
   issues in relation to Nick Montfort’s #!, a 2014 print collection of poems that presents readers with the output of computer programs as well as the programs themselves, which are designed to operate on principles of text generation regulated by specific constraints. More specifically, it focuses on two works in the collection, ‘Round’ and ‘All the Names of God’, which are read in relation to the notions of the ‘computational sublime’ and the ‘event’.

   (Source: Author's Abstract)

   Mario Aquilina - 13.01.2016 - 10:57