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1. 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

2. Thoreau’s Radicle Empiricism: Arboreal Encounters and the Posthuman Forest

   It is time to liberate the forest from the anthropocentric metaphor. Donna Haraway, endorsing Eduardo Kohn’s How Forests Think (2013), says this clearly: “A thinking forest is not a metaphor.” Recent work by Bruno Latour and Isabelle Stengers on “Gaia,” along with Timothy Morton’s concept of the “hyperobject,” demands that we reevaluate our tendency toward metaphor when dealing with trees.

   Kohn’s work, along with Michael Marder’s and Peter Wohlleben’s, suggests that we emphasize the cognitive life of trees, rather than harnessing the image of trees as metaphors for human cognition. We must view the forest as a thinking entity in its own right.

   In this paper, I examine Henry David Thoreau’s writing as a model for an encounter with trees that moves beyond mere metaphor. Thoreau draws on his position as an American Transcendentalist and an empirical naturalist to approach trees both philosophically and scientifically. As a poet, he does not make poetry out of trees, but instead sees the poetry that trees themselves create.

   Cecilie Klingenberg - 26.02.2021 - 14:36

3. A Platform Poetics: Computational Art, Material and Formal Specificities, and 101 BASIC Poems

   My digital art is highly computational, or process intensive—it is more about code and symbol manipulation, and less about data, the visualization of data, or multimedia effects. But beyond this, what I do often explores specific computer platforms. In this essay I describe how my project 101 BASIC Poems is part of a platform practice engaging the Commodore 64, the Apple II series of computers, and the BASIC programming language. My project 101 BASIC Poems is an initiative to develop just more than a hundred computational artworks, each one not just a digital text but also a computer program that can and should be run. On the computational end of things, a major inspiration is 101 BASIC Computer Games, a collection of BASIC programs that fired the imaginations and scaffolded the programming ability of many people in the late 1970s and early 1980s.

   Nick Montfort - 15.11.2021 - 00:24