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RERITES
Human + A.I. poetry.
Generated by a computer. Edited by a human.
05.2017 - 05.2018. One book a month.A limited edition boxset of 12 poetry books written in one year by digital poet David Jhave Johnston with neural net augmentation. ReRites is accompanied by a book of 8 essays written about the project. Published by Anteism Books, Montreal (2019).
ReRites exhibit format also includes over 120 hours of neural-net text-generation videos, 15 hours of editing videos, and often includes a participatory performance component called ReadingRites.
Installation views.(Source: http://glia.ca/rerites/)
Amirah Mahomed - 26.09.2018 - 14:56
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Most Powerful Words
Most Powerful Words is a digital literary work comprised of 54 computer-generated poems. There are six themes containing nine poems. Click a theme, then a panel of the theme’s carousel to generate a unique, infinite, recombinant poem. Click ‘Return to [SECTION]’ to return to the carousel menu. Click ‘Return to Main’ to return to this page.
Using Montfort’s algorithmically minimal Javascript (for copyright, inspect source), this collection presents all language on the same playing field, allowing contemporary readers to lightly, quickly, precisely, visibly, and consistently traverse the infinite use and misuse of past and present language. Chrome browser recommended.
David Wright - 11.11.2020 - 04:42
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Approaching the world of an instapoem
Instapoetry is entangled in the ecology of Instagram and the digital media ecology at large, which despite instapoetry’s very conservative output (images of text or images with textual elements), still has caused questions regarding how to approach it. While a lot of poetry on Instagram is simply images of poetry remediated on the social media, there also exist a type of platform literature, or platform poetry, which in this paper is treated as instapoetry proper.
With instapoetry proper the intent of publishing it on Instagram is something that affects how we should approach it aesthetically. From a media ecological and posthumanist perspective; while we use social media to do things, it also affects how we do things.
Cecilie Klingenberg - 20.02.2021 - 14:17
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The Politics of Web Materiality: Making Electronic Literature in the Capitalocene
We are on the brink of planetary catastrophe. Environmental, political, health and humanitarian crises have infused the zeitgeist of the Anthropocene with a sense of urgency (Crutzen and Stoermer 2000). Human activity has been placed in opposition (or as an add-on) to Nature, participating in a dialectical discourse that, like the binaries of sexism, racism, or even Eurocentrism, points directly to the violence, inequality and oppression of the modern world (Moore 2016). As these relate to climate and political change, the Anthropocene argument presents the exploitation and accumulation of capital as conterminous to human nature and progress.
Accumulation, however, is not only productive, but necrotic (McBrien 2016), in the sense that it unfolds a slow violence sustained by reduction or, perhaps, extinction: the reduction of cultures, languages and peoples; as well as the extinction of the Earth through depletion of resources. If accumulation is natural to us, then so are reduction and extinction.
Cecilie Klingenberg - 24.02.2021 - 14:40
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Fictionality in Critical Posthumanism: Why some Philosophies Need Genres of Invention
This paper explores the pervasive presence of literature, film, speculation, fabulation, and other genres of invention in the theoretical writings also known as “critical posthumanism.” Identifying a set of different appropriations of fictional discourse in theoretical work by, amongst others, Astrida Niemanis, Stacy Alaimo, Rebekah Sheldon, Donna Haraway, and Jane Bennett, the paper asks why theorists united by a common interest in “getting real”, to use Karen Barad’s phrase (1998), often turn to a type of discourse that is defined precisely by not committing itself to reality. What, in other words, do genres and rhetorical devices that deliberately and explicitly make stuff up allow thinkers within critical posthumanism to do that traditional academic styles of writing do not?
Cecilie Klingenberg - 24.02.2021 - 15:01
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Writing as collective assemblages in the age of (post)digital capitalism, or de-colonizing e-literature in the minor key.
In my proposition, I would like to explore the notion of the minor (Deleuze and Guattari, 1986), employed here as a theoretical tool allowing for a critical inquiry into multifarious e-literary post-internet practices, popularly referred to as Third-Generation E-Literature (Flores, 2019), and accompanied by third-wave e-literature scholarship (Ensslin et al., 2020). However, I am going to build on this notion following its recent repurposing by Anne Sauvagnargues (as the minor style) (Sauvagnargues, 2016) and Erin Manning (as the minor gesture) (Manning, 2016). Kathi Inman Berens aptly remarks (Berens, 2020) that de-colonization of e-literature requires multiplicity of perspectives, as it entails not only cultural hegemonies operating along geographical, ethnic and racial axes and following the set of distinctions shaped by modernist aesthetics, but it also needs to address widespread domination of Big Tech companies shaping the popular internet platforms, programming solutions and users' practices.
Cecilie Klingenberg - 24.02.2021 - 15:57
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Making language: re-writing and control in algorithmic poetics
Considering the effects of machine learning in aesthetic practices, the aim of this presentation is to discuss strategies for authorial inscription and the autonomy of literary writers in relation to programmable writing tools.
In a first moment I will apply David Nickel's notion of "proxy writer" (2013) to algorithmic writing agents in order to characterize these agents in what concerns their relative autonomy and place within human writing practices, and argue that digital writing environments and tools have been gradually becoming more alienated from the writer's control. Vilém Flusser's notion of "functionary" will be applied to computational writing practices in order to situate these in the broader context of writing media.
In a second moment I will discuss the writing strategies present in Jhave's ReRites (2017-18) in order to assess how such strategies cope with the high level of autonomy of neural-networks in text-generation, and how they function as a necessary precondition for literary inscription on a highly mediated writing space.
Cecilie Klingenberg - 24.02.2021 - 16:07
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The metainterface spectacle
With ‘interface criticism’ (Andersen and Pold) as an outset, we will address how the interface is in a transition from a closed system of interaction, to a dispersed network. More specifically, we are interested in how to relate aesthetically to this transition as a new mode of organization of the ‘masses’ (or ‘users’) that takes place in a cultural industry around metainterfaces. Following a path of critique from Benjamin, Kracauer, Crary, Hayles and others, we intend to discuss it as a new form of media spectacle: a ‘metainterface spectacle’ that simultaneously organizes the users, and offers a way of perceiving their reality as ‘cognitive assemblages’.
Cecilie Klingenberg - 24.02.2021 - 16:18
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Seeking Pleasure in the Confusion of Boundaries: Reading Posthumanism in Children’s Literature
Literature and art forms contribute significantly to the discussion of epistemological concerns of posthumanism. Which is to say that, literature and art imagine, interrogate and nurture the subjective and embodied attributes of the nonhuman experience. It is through such exploration of the experiential aspects that sensitivity and other similar personal engagements can occur, which can augment our comprehension of nonhuman beings and entities, that in turn can lead to conspicuous epistemological and ethical consequences.
To consider critical posthumanism as established only within critical theory and philosophy, wherein the idea of the human has been the moot point, is to neglect the significant role of popular culture and literature in the revaluation of the concept of the human.
Cecilie Klingenberg - 24.02.2021 - 16:24
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Contemporary Posterity
What does it mean to be post? In a time of countless movements of post-[x], the value of the prefix itself becomes of interest: what does it do to a concept to reposition it by turning it into a ‘posterity’?
I will unpack this question through an inquiry into the concept of ‘post-digital’, scrutinizing and seeking to overcome the problems of rigid periodization that the prefix ‘post’ might imply. Such an inquiry is arguably also central to the ongoing exploration of posthumanist tendencies in literary and aesthetic fields. Indeed, posthumanism and the (post-)digital are – historically and continuously – closely connected (cf. Haraway; cf. Hayles). As Laura Shackelford argues, the post-digital’s “practice-based experimentation continues to pursue … posthumanist inquiries and immanent engagements with technicity” (349).
Cecilie Klingenberg - 24.02.2021 - 16:40
