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“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
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Cybernetic Serendipity
Collection of computer-generated texts based on an exhibition of cybernetic art curated by Jasia Reichardt, shown at the Institute of Contemporary Arts, London in 1968.
Scott Rettberg - 21.08.2014 - 11:39
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Failure, A Writer's Life
Failure, A Writer’s Life is a catalogue of literary monstrosities. Its loosely organized vignettes and convolutes provide the intrepid reader with a philosophy for the unreadable, a consolation for the ignored, and a map for new literary worlds. "The unfinished, unreadable, unpublishable — the scribbled and illegible, the too slowly published, the countless unpublished, all that does not seem to count at all. . . . here lie all manner of ruins. From Marguerite Duras to Google Maps, Henri Bergson to H.P. Lovecraft, Orson Welles to Walter Benjamin to a host of literary ambulance drivers (not to mention the FBI, UFOs, and UbuWeb), _Failure, A Writer's Life_ charts empty spaces and occupied libraries, searches databases bereft of filters, files spam and porn and weather reports into their respective _konvoluts_, and realizes the full potential of cultural inscription. In a series of snapshots concatenated in the best surrealist mode, Milutis has curated a catalogue of curiosities as essential to understanding our current cultural condition as they are eccentric.
Joe Milutis - 06.11.2014 - 10:23
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Beyond the Googlization of Literature: Writing Other Networks
It's true, poets have been experimenting with producing writing (or simply writing, just writing of a sort not familiar to us - writing as input and writing as choosing) with the aid of digital computer algorithms since Max Bense and Theo Lutz first experimented with computer-generated writing in 1959. What is new and particular to the 21st century literary landscape is a revived interest in the underlying workings of algorithms, not just a concern with the surface-level effects and results that characterized much of the fascination in the 1970s and 1980s with computer-generated writing. With the ever-increasing power of algorithms, especially search engine algorithms that attempt not just to "know" us but to in fact anticipate and so shape our every desire, our passive acceptance of these algorithms necessarily means we cannot have any sense of the shape and scope of how they determine our access to information, let alone shape our sense of self which is increasingly driven by autocomplete, autocorrect, automata.
Daniela Ørvik - 17.02.2015 - 15:47
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Teaching Creative Writing with Python
The course concerns the classic tension in poetry between decontextualization and juxtaposition: deciding what a text’s constituent elements are, breaking the text into those elements, and then bringing them back together in surprising and interesting ways. Students are taught not just about string processing and text analysis, but also about the poetic possibilities of using those techniques to algorithmically build new texts. Each semester, the course culminates in a live performance, in which each student must read aloud for an audience a text that one of their programs has generated.
(Source: Author's Abstract)
Sumeya Hassan - 26.02.2015 - 21:16
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'The frame of the sparkling graphics': the window and the screen in contemporary Irish poetry
This conference paper discusses the visual tropes of the window and the screen in the work of Derek Mahon and Alan Gillis. More specifically, the focus is on how the architectural window and the digital screen operate as framing devices in their works, and how they enable the poets to interrogate the interrelationship between poetry as verbal discourse, and visual representation. The shift from the architectural window to a digital window on the screen also marks a shift in understanding questions of viewpoint and perspective in contemporary culture.
Anne Karhio - 05.03.2015 - 18:01
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'Roda Lume' by E. M. de Melo e Castro
Roda Lume is a 2’ 43’’ videopoem, which was broadcast by the Rádio Televisão Portuguesa (RTP) in 1969 and subsequently destroyed by the station itself, and was reenacted by Melo e Castro from the original storyboard in 1986. The work is indeed surprising, as a poem that overlaps text, kinetic text, image, moving image and sound, anticipating and influencing various genres of digital hypermedia poetry mainly launched after the birth of the World Wide Web. It constructs a different notion of space-time, opening a “visual time” (Melo e Castro 1993: 238) of unfolding images and text that comprises a new reading perception.
(Source: Author's text)
Alvaro Seica - 07.04.2015 - 17:00
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Cybertext Poetry: Effects of Digital Media on the Creation of Poetic Literature
Digital technologies have begun to affect the activity of creating poetry. This development does not threaten to supplant poetry in its written, oral, and other senses. Rather, it holds the potential to accentuate and extend its capabilities. My study discusses historical and mechanical issues related to literature and digital media, exposing how approaches to the creation of poetic texts are evolving as writing (in part) becomes machine-modulated. Aiming to chronicle the opening period of cybertext, these essays intend to expand the discourse and illustrate aesthetic properties of digital text. Theodor Holm Nelson invented the concept of hypertext in the 1960s. Hypertext, to Nelson, meant branching texts and "non-sequential writing." It is a specialized mode of multi-layered reading and writing enabling the integration of digital texts. My study advances hypertext by adopting the term cybertext to include other digital forms and possibilities. It continues the work of developing a vocabulary bridging poetry and cybertext, discussing contemporary theory and practice in this discipline.
Alvaro Seica - 06.05.2015 - 14:32
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Biopoetry
Biopoetry is a new poetic form invented by Eduardo Kac in 1999 through “Genesis,” in which Kac created an “artist’s gene,” a synthetic gene that he translating a sentence from the biblical book of his artwork produced by and then Biopoetry Eduardo Kac Biopoetry is a new poetic form invented by Eduardo Kac in 1999 through “Genesis,” in which Kac created an “artist’s gene,” a synthetic gene that he translating a sentence from the biblical book of Genesis into Morse code converting the Morse code into DNA base pairs according to a conversion principle specially developed by the artist for this work. The sentence reads, “Let man have dominion over the fish fi of the sea, and over the fowl of the air, and over every living thing that moves upon the earth.” It was chosen for what it implies about the dubious notion of divinely sanctioned humanity’s supremacy over nature. The Genesis gene was incorporated into bacteria, which were shown in the gallery. Participants on the web could turn on an ultraviolet light in the gallery, causing real, biological mutations in the bacteria. This changed the biblical sentence in the bacteria.
Sumeya Hassan - 06.05.2015 - 19:33
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"'Till Algebra is Easier —': Elements of Computation in the Poems of Emily Dickinson
In this paper, I present close readings of a selection of Emily Dickinson’s poems that I propose might be best explained through an understanding of her awareness of the current scientific topics of the time. These include, for example, the publication of Darwin’s Origin of Species in 1859, Faraday’s and Maxwell’s numerous investigations into electromagnetism in the early to mid 1800s, and the production of Babbage’s Difference Engine in 1847. Specifically, in regards to Babbage’s computing machine, I demonstrate a connection between some of the innovations first formulated by the mathematician and proto-programmer Ada Lovelace in 1842 and 1843, including concepts of looping, modeling, and isomorphism, and Dickinson’s poems, written more than one decade later, which include references to cycles, recursion, and branching. Additionally, I show that there are clear stylistic similarities between Lovelace’s philosophical inquiries into the nascent discipline of computation and some of Dickinson’s poems that might be said to contain algorithmic structures or images.
Hannah Ackermans - 14.11.2015 - 16:02
