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Dovetailing Details Fly Apart — All Over, Again, in Code, in Poetry, in Chreods
"Dovetailing Details Fly Apart - All Over, Again, In Code, In Poetry, In Chreods" by Strickland and Lawson Jaramillo carries the debate into the analysis of specific poems and poetic practices, both written and spoken, graphic and sonic, alphabetically and digitally coded. The essay also introduces a new reference for the debate - namely, the work of Gregory Bateson, who is cited not just as a supporting 'theory' or philosphical framework, but in the spirit of differential discourse that distinguishes Bateson's work.
(Source: introduction at electronic book review)
Scott Rettberg - 26.02.2011 - 22:59
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Code.surface || Code.depth
This essay begins by identifying a central idea in the critical discourse on code art and code poetry: code is a deep structure that instantiates a surface. The AP Project’s Jonathan Kemp and Martin Howse, for example, explain that their work makes “manifest underlying systematics,” that can make the digital “physical, audible and visible through geological computing.” In what sense, if at all, can we trace a computing operation down to a foundation, bottom, or core? Why do we maintain this cultural imaginary of code and how has it come into being? Moreover, how have the metaphors of software engineering – particularly the notion of structured layers and multitier architectures – been put to artistic use? The thematizing of layers, surfaces, and spatial metaphors has become quite intricate in new media writing practices, as I will demonstrate in a reading of “Lascaux.Symbol.ic,” one of Ted Warnell’s Poems by Nari, and recent projects by John Cayley, including Overboard and Translation.
Rita Raley - 05.05.2011 - 16:06
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Interferences: [Net.Writing] and the Practice of Codework
Codework refers to the use of the contemporary idiolect of the computer and computing processes in digital media experimental writing, or [net.writing]. Some of the prominent practitioners include Alan Sondheim, who has given the practice and genre its name, Mez (Mary-Anne Breeze), Talan Memmott, Ted Warnell, Brian Lennon, and John Cayley. These writers also use different terms to refer to work: Mez composes in a neologistic "net.wurked" language that she has termed m[ez]ang.elle; Memmott uses the term "rich.lit"; Warnell names some of his JavaScript poems "codepoetry"; Lennon refers to "digital visual poetics"; and Cayley produces algorithmic, generative texts, or "programmable poetry." Writers and artists who have taken up the general practice of codework heed the mandate - "use the computer; it is not a television" - and strive to foreground and theorize the relations between interface and machine and so reflect on the networked environment that constitutes and is constituted by a digital text. The precise techniques vary, but the general result is a text-object or a text-event that emphasizes its own programming, mechanism, and materiality.
Rita Raley - 05.05.2011 - 23:09
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The Code is not the Text (unless it is the Text)
An essay considering the nature of "codework" and arguing against the collapse of "code" and "text" into one category. Cayley considers the different modes of reading involved in reading works that may be read both as computational artifacts and as works of literature.
Rita Raley - 05.05.2011 - 23:14
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Collaborations in E-lit
This essay, a discussion between two esteemed e-poets for whom collaboration is an integral part of their creative practice, appeared in the "The Collaborative Turn" special issue of American Book Review, guest-edited by Davis Schneiderman. In their discussion, Montfort and Strickland survey several common types of e-lit collaboration and provide links to representative examples. Strickland explicitly links the material aesthetics of code poetics to literary theorist Timothy Morton's call for critical thinking that engages the universe's enmeshed interconnectedness, which he dubs "the ecological thought."
Eric Dean Rasmussen - 29.12.2011 - 11:45
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Pressing the ‘Reveal Code’ Key
Pressing the ‘Reveal Code’ Key
Patricia Tomaszek - 16.03.2012 - 23:52
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Critical Code Studies
Critical Code Studies
Patricia Tomaszek - 10.07.2012 - 23:08
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Words Made Flesh. Code, Culture, Imagination
Executable code existed centuries before the invention of the computer in magic, Kabbalah, musical composition and experimental poetry. These practices are often neglected as a historical pretext of contemporary software culture and electronic arts. Above all, they link computations to a vast speculative imagination that encompasses art, language, technology, philosophy and religion. These speculations in turn inscribe themselves into the technology. Since even the most simple formalism requires symbols with which it can be expressed, and symbols have cultural connotations, any code is loaded with meaning. This booklet writes a small cultural history of imaginative computation, reconstructing both the obsessive persistence and contradictory mutations of the phantasm that symbols turn physical, and words are made flesh.
Johannes Auer - 08.11.2012 - 15:55
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cut to fit the tool-spun course
"cut to fit the toolspun course" includes a new gloss by the authors on the original JavaScript code. The code was originally published with some comments to assist those who might want to modify or re-use it; this version expands on those comments to explain more about the process of developing the generator and to reflect on the nature of comments and the glossing of code. This file, including comments both practical and reflective, is offered as one model for the criticism of literary works written in code.
Scott Rettberg - 03.07.2013 - 13:08
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Reorienting Narrative: E-lit as Psychogeography
Illya Szilak interviews J. R. Carpenter in her on-going series of posts on E-Lit for Huffington Post Books.
J. R. Carpenter - 08.07.2013 - 11:54
