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1. New Directions in Digital Poetry

   As poets continue to use digital media technology, functionalities of computing extend aesthetic possibilities in documents focusing attention on crafting verbal content. Utility of these machines and tools enables multiple types of compounded articulation (combinations of verbal, visual, animated, and interactive elements). Building larger public awareness of the mechanics of digital poetry, New Directions in Digital Poetry aspires to influence the formation of writing with media in literary society of the future, specifically as a record of a particular technological era.

   Scott Rettberg - 24.01.2012 - 13:52

2. Re:Cycle - A Computationally Generative Ambient Video System

   Ambient video art is designed in the spirit of Brian Eno's ambient music - it must never require our attention, but must reward our attention whenever it is bestowed. It comes in many forms, ranging from the kitsch of the Christmas yule log broadcast to more mature moving image art created by a number of contemporary video artists and producers. The author has created a series of award-winning ambient video works. These works are designed to meet Eno's difficult requirements for ambient media - to never require but to always reward viewer attention in any moment. They are also intended to support viewer pleasure over a reasonable amount of repeated play. These works are all "linear" videos - relying on the careful sequencing and meticulous transitioning of images to reach their aesthetic goals. Re:Cycle uses a different approach. It relies on a computationally generative system to select and present shots in an ongoing flow - but with constant variations in both shot sequencing and transition choice. The Re:Cycle system runs indefinitely and avoids any significant repetition of shots and transitions.

   Eric Dean Rasmussen - 21.06.2012 - 12:57

3. The Broadside of a Yarn: A Situationist Strategy for Spinning Sea Stories Ashore

   "The Broadside of a Yarn: A Situationist Strategy for Spinning Sea Stories Ashore", by J. R. Carpenter, reflects upon The Broadside of a Yarn, a multi-modal performative pervasive networked narrative attempt to chart fictional fragments of new and long-ago stories of near and far-away seas with nought but a QR code reader and a hand-made print map of dubious accuracy. The Broadside of a Yarn was commissioned by ELMCIP for Remediating the Social, an exhibition which took place at Inspace, Edinburgh, 1-17 November 2012. The Broadside of a Yarn remediates the broadside, a form of networked narrative popular from 16th century onward. Like the broadside ballads of old, the public posting of The Broadside of a Yarn signified that it was intended to be performed.

   J. R. Carpenter - 16.10.2012 - 14:52

4. 10 PRINT CHR$(205.5+RND(1)); : GOTO 10

   This book takes a single line of code—the extremely concise BASIC program for the Commodore 64 inscribed in the title—and uses it as a lens through which to consider the phenomenon of creative computing and the way computer programs exist in culture. The authors of this collaboratively written book treat code not as merely functional but as a text—in the case of 10 PRINT, a text that appeared in many different printed sources—that yields a story about its making, its purpose, its assumptions, and more. They consider randomness and regularity in computing and art, the maze in culture, the popular BASIC programming language, and the highly influential Commodore 64 computer.

   (Source: Publication website)

   Elisabeth Nesheim - 07.03.2013 - 15:45

5. "A Machine Made of Words by a Machine Made of Numbers"- Authorial Presence in Niemi’s Stud Poetry

   Primary Text: Marko Niemi’s Stud Poetry, a demo of which would run during the presentation.

   The paper opens with a brief discussion of the inherently conservative nature of the ELO’s definition of electronic-literature and the critical tendencies which this encourages. It has a strong focus on those critics who identify the forms which electronic literature has taken as an extension of modernist experimentation in the Twentieth Century, while disregarding the new possibilities which programmable media furnishes the poet with.

   These possibilities are manifest in Niemi’s Stud Poetry, a text which has been consistently overlooked since its publication, perhaps because it presents a challenge to the dominant critical trends. Stud Poetry cannot fully be understood in terms of print-based modernist experimentation, Dada or Burroughs, because it would be impossible to achieve without a computer program. Niemi wrote the code which ‘writes’ each poem/game.

   Jill Walker Rettberg - 23.08.2013 - 12:24

6. “The Dead Must be Killed Once Again”: Plagiotropia as Critical Literary Practice

   Húmus by Herberto Helder (1967) is recognized for its direct quotation from Raul Brandão’s 1921 poem of the same name. However, Helder’s work is more than the simple intertextual suggestion of a text: it transforms it, putting into motion its latent power, reviving it. As may be read in the epigraph of this work, the "words, sentences, fragments, images" from Húmus are used by Helder in order to achieve, through re-writing, a full reading of the text by Brandão. Such reading multiplies and transforms the meanings that are crystalized in the work by Brandão, thus articulating the scope the poet refers: "freedoms, freedom."

   Alvaro Seica - 28.11.2013 - 15:04