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Reading the Drones: Working Towards a Critical Tradition of Interactive Poetry Generation
Computer-generated poetry is now almost sixty years old, stretching from the work of Christopher Strachey, Jackson Mac Low and Theo Lutz in the 1950s to the wealth of interactive poetry generators freely available online today. According to Antonio Roque, this history comprises four distinct (but overlapping) ‘traditions’: the Poetic; the Oulipo; the Programming; and the Research. But despite the inherent ‘literariness’ of the enterprise, one tradition is conspicuous by its absence: the ‘Critical’. It is the object of this paper to rectify this omission, proposing a mode of critical engagement that might allow interactive poetry generators to be naturalised as objects of textual study according to the protocols of literary criticism. It seeks to achieve this by means of a comparative analysis between what might be construed as the first interactive poetry generator – Tristan Tzara’s ‘How to Make a Dadaist Poem’ – and one of the most recent (and most powerful) – Chris Westbury’s JanusNode.
Kriss-Andre Jacobsen - 04.10.2013 - 11:14
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Affiliations - Remix and Intervene: Computing Sound and Visual Poetry
In this exhibit, sound is represented as an overarching medium connecting the artworks displayed. Visitors of the “Affiliations” exhibit will find poetic works that radically explore language and sound. For the curators, sound is one of the fundamental aspects, if not the core, of experimental and digital poetics. Yet, as some writers and critics have pointed out - especially Chris Funkhouser, Hazel Smith, and John Barber - sound has not been sufficiently highlighted as a fundamental trait of electronic literature.
The “Affiliations” exhibit presents works that embrace appropriation and remix of older and contemporary pieces - be they merely formalist or politically engaged - as pervasive creative methods in experimental poetics. Furthermore, it suggests that electronic literature can be seen as a heterogeneous field of self-reflexive experimentation with the medium, language, sound, code, and space.
Hannah Ackermans - 09.08.2017 - 10:58
