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1. Born Digital

   “E-poetry relies on code for its creation, preservation, and display: there is no way to experience a work of e-literature unless a computer is running it—reading it and perhaps also generating it.” Stephanie Strickland outlines 11 rules of electronic poetry.

   Ana Castello - 02.10.2018 - 13:20

2. Reading Project: A Collaborative Analysis of William Poundstone’s Project for Tachistoscope

   Electronic literature is a rapidly growing area of creative production and scholarly interest. It is inherently multimedial and multimodal, and thus demands multiple critical methods of interpretation. Reading Project: A Collaborative Analysis of William Poundstone’s Project for Tachistoscope {Bottomless Pit} is a collaboration between three scholars combining different interpretive methods of digital literature and poetics in order to think through how critical reading is changing—and, indeed, must change—to keep up with the emergence of digital poetics and practices. It weaves together radically different methodological approaches—close reading of onscreen textual and visual aesthetics, Critical Code Studies, and cultural analytics (big data)—into a collaborative interpretation of a single work of digital literature.

   Ana Castello - 02.10.2018 - 19:40

3. The Convergence between Print and Digital Literature in Blackout Poetry

   The Convergence between Print and Digital Literature in Blackout Poetry study the phenomenon of the “blackout poetry” both in the digital and the physical world. According to Ralph Heibutzki, on Demand Media, “Blackout Poetry focuses on reordering words to create a different meaning. Also known as the newspaper blackout poetry, in it, the author uses a permanent marker to cross out or delete words or images that he sees as unnecessary or irrelevant to the effect he is trying to create. The central idea is to design a new text from the words and images published previously, but finally, the reader is free to interpret as he wants.”

   Carlos Muñoz - 03.10.2018 - 15:47

4. Cling-Clang-Cornelius: Digital Sound Poetry as Embodied Posthumanism

   Starting from the problematic gap between the unicity of the human voice and the socio-cultural variables that are unavoidably attached to her expressions, this presentation proposes the phenomenon of ‘sound poetry’ as paradigmatic bridge between a biological reality and its posthuman condition. The underlying reasoning harks back to media artist and philosopher Norie Neumark’s remark that sound poetry like no other mode of artistic expression “stimulates reflection on the uncanny and complicated relation between embodiment, alterity, and signification” (2010). Most notably the appropriation and – literal – embodiment of electronic technologies in digital sound poetry has recently yielded a new dynamic to the performativity of poetic composition. With today’s technical possibility to sample and mediate minimal acoustic nuances in the here-and-now we are allowed a glimpse into the supplement of meaning generated by the meeting between text/script and voice/sound. Such post-human amplification of an intrinsically arch-human act accordingly finds its broader relevance broadside conventional aesthetic standards. 

   Carlos Muñoz - 03.10.2018 - 15:57

5. WordHack Anthology: 2014-2019

   WordHack Anthology brings together projects and documentation presented during the first five years of WordHack, a monthly presentation series at Babycastles in NYC centered around the intersection of language and technology. WordHack is designed to be an open meeting space for people across disciplines to see what each other are working on and thinking about, from coders interested in the creative side, to writers interested in new forms writing can take, to game makers looking for new ways to play with words, to academics researching the newly possible. 

   (Source: https://toddwords.itch.io/wordhack-anthology)

   Stian Hansen - 19.08.2019 - 13:12

6. Infinite Verse

   Infinite literature is abundant, often conceptually simple, and often formally easy to understand. For critics and poets to explore infinite forms of literature further, it is important to clarify their essentials. In this discussion I will describe properties of infinite (or, to phrase it differently, “boundless”) poetry. I specifically consider verse — poetry which, when composed, is “turned” into lines in some typical or unconventional way. These verse works, or segmented verbal works, need not be digital: There are many infinite artworks that are not based on digital computation or even what people would usually describe as “technology,” while there are many finite (bounded) artworks that are computational. Some of the works I will cover are thought of as prose fictions, but I will demonstrate that to attain boundlessness they need at least one turn of the sort that is characteristic of verse.

   Nick Montfort - 06.09.2019 - 22:48

7. GPT-based Generation for Classical Chinese Poetry

   We present a simple yet effective method for generating high qual- ity classical Chinese poetry with Generative Pre-trained Language Model (GPT)[5]. The method adopts a simple GPT model, without using any human crafted rules or features, or designing any additional neural compo- nents. While the proposed model learns to generate various forms of clas- sical Chinese poems, including Jueju(绝句), Lu ̈shi(律诗), various Cipai(词牌) and Couples(对联), the generated poems are of very high quality. We also propose and implement a method to fine-tune the model to generate acrostic poetry. To the best of our knowledge, this is the first to em- ploy GPT in developing a poetry generation system. We have released an online mini demonstration program on Wechat1 to show the generation capability of the proposed method for classical Chinese poetry.

   Jill Walker Rettberg - 18.09.2019 - 11:08

8. Podcast: Nick Montfort, “Poet/Programmers, Artist/Programmers, and Scholar/Programmers: What and Who Are They?”

   Computer programming is a general-purpose way of using computation. It can be instrumental (oriented toward a predefined end, as with the development of well-specified apps and Web services) or exploratory (used for artistic work and intellectual inquiry). Professor Nick Monfort’s emphasis in this talk, as in his own work, is on exploratory programming, that type of programming which can be used as part of a creative or scholarly methodology. He says a bit about his own work but uses much of the discussion to survey how many other poet/programmers, artist/programmers, and scholar/programmers are creating radical new work and uncovering new insights.

   09:08 p5.js
   12:38 The Deletionist
   14:26 Permutated Poems of Poems of Brion Gysin
   18:18 Curveship
   21:00 A Noise Such As a Man Might Make
   24:03 Oral Poetics
   29:35 Q&A

   Scott Rettberg - 01.10.2019 - 14:31

9. Mining Linguistic Content from Vast Audio and Video Archives for Multimodal Poetry

   This 20-minute presentation highlights research conducted as a Fellow in the MIT Open Documentary Lab developing a methodology and software for parsing linguistic and semantic information from vast quantities of audio and video files for playback and synchronization across networked computers. The presentation will focus on the expressive potential of this methodology to create new forms of multi-modal digital poems. The goal of this research is to extend recent advances in computational text analysis of written materials to the realm of audio and video media for use in a variety of different language centered media production contexts. This methodology and software provides the ability to parse vast quantities of audio and video files for topics, parts of speech, phonetic content, sentiment, passive/active voice and language patterns and then playback the video or audio content of the search for consideration in an aesthetic context. Queries that are intriguing can be saved and sequenced for playback as a poetic remix of linguistic patterns on one or multiple monitors.

   Vian Rasheed - 14.11.2019 - 01:25

10. Eccentric Peninsular: The Cornish Coast as a site for Deconstruction in Intermedia Poetry

    This paper analyses the use of ‘the coast’, particularly the coast of England’s South-West Peninsular, as a site for deconstruction in the works of a number of intermedia poet-artists. It is based primarily on selected readings of digital literature works which specifically engage with the South-West coast, covering works by Mark Goodwin, Andrew Fentham, Penny Florence and JR Carpenter (including the latest work by JR Carpenter ‘This is a Picture of Wind’, shortlisted for the New Media Writing Prize 2018). The reading considers the texts’ representations of ‘coasts’ and ‘peninsulars’ and their relationship to the de-stabilisation and frustration of positions of authority and authoritative structures (especially positions and structures of nationalism and sexism). The South-West peninsular can itself be considered de-centred and eccentric, remote from England’s administrative and financial centres and with a rich history of translocal interactions and migrations (c.f. Natalie Pollard) between other peripheral artistic and cultural regions and nations (especially those with Celtic heritage).

    Vian Rasheed - 18.11.2019 - 01:19

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