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1. New Media Poetics: Contexts, Technotexts, and Theories

   New media poetry—poetry composed, disseminated, and read on computers—exists in various configurations, from electronic documents that can be navigated and/or rearranged by their "users" to kinetic, visual, and sound materials through online journals and archives like UbuWeb, PennSound, and the Electronic Poetry Center. Unlike mainstream print poetry, which assumes a bounded, coherent, and self-conscious speaker, new media poetry assumes a synergy between human beings and intelligent machines. The essays and artist statements in this volume explore this synergy's continuities and breaks with past poetic practices, and its profound implications for the future. By adding new media poetry to the study of hypertext narrative, interactive fiction, computer games, and other digital art forms, New Media Poetics extends our understanding of the computer as an expressive medium, showcases works that are visually arresting, aurally charged, and dynamic, and traces the lineage of new media poetry through print and sound poetics, procedural writing, gestural abstraction and conceptual art, and activist communities formed by emergent poetics.

   (Source: Publisher's description)

   Patricia Tomaszek - 21.09.2010 - 11:24

2. Digital Poetics: The Making of E-Poetries

   In this revolutionary and highly original work, poet-scholar Glazier investigates the ways in which computer technology has influenced and transformed the writing and dissemination of poetry. In Digital Poetics, Loss Glazier argues that the increase in computer technology and accessibility, specifically the World Wide Web, has created a new and viable place for the writing and dissemination of poetry. Glazier's work not only introduces the reader to the current state of electronic writing but also outlines the historical and technical contexts out of which electronic poetry has emerged and demonstrates some of the possibilities of the new medium. Glazier examines three principal forms of electronic textuality: hypertext, visual/kinetic text, and works in programmable media. He considers avant-garde poetics and its relationship to the on-line age, the relationship between web "pages" and book technology, and the way in which certain kinds of web constructions are in and of themselves a type of writing. With convincing alacrity, Glazier argues that the materiality of electronic writing has changed the idea of writing itself.

   Eric Dean Rasmussen - 16.03.2011 - 12:55

3. Digital Poetry Beyond the Metaphysics of 'Projective Saying'

   Digital Poetry Beyond the Metaphysics of 'Projective Saying'

   Eric Dean Rasmussen - 23.03.2011 - 14:01

4. Encapsulating E-Poetry 2009: Some Views on Contemporary Digital Poetry

   Digital poet and researcher Chris Funkhouser attends E-Poetry 2009 in Barcelona and files a report on what he heard and saw.

   Patricia Tomaszek - 25.05.2011 - 16:31

5. Screening the Page/Paging the Screen: Digital Poetics and the Differential Text

   Screening the Page/Paging the Screen: Digital Poetics and the Differential Text

   Eric Dean Rasmussen - 30.05.2011 - 14:33

6. New Media Poetry and Poetics

   LEA leaps into yet another bold foray, this time revolving around the world of new media poetics. Bursting at the cyber-seams, a spiffy collection of essays by myriad authors await. The proud guest editor of this edition in Tim Peterson and he’s woven together a marvelous mix of nine essays, and curated an equally exciting gallery showcasing four illuminating artist works. (Source: LEA)

   Eric Dean Rasmussen - 02.09.2011 - 10:30

7. We have never had a mind of our own: A Poetics of the Integrated Circuit

   The black-and-gray background of the splash page for the performance artist Stelarc’s website appears to be an abstraction of memory blocks, logic boards, and input/output pads. Into it is plugged a block of small white introductory text, a blip of red text listing devices necessary to access the site, and a sketch showing a body wired with EEGs to catch the brainwaves, ECGs to trace the heartbeat, EMG’s to monitor the flexor muscles, and an array of contact microphones, position sensors, and kineto-angle transducers to chart everything else. In this integrated circuit, voltage-in probes the body; voltage-out extends it. In case the point is not yet clear, two neon-bright chunks of text in the middle of the page blink on and off to announce it: “THE BODY IS,” the first lines read all in a rush, then slowly, spelling it out, “O-B-S-O-L-E-T-E.” In this paper, I would like to argue that the transformation from an organic, industrial society to the polymorphous information system Stelac enacts allows us to think back to machine-human collaborations overlooked in expressivist approaches to poetry.

   Audun Andreassen - 03.04.2013 - 16:02

8. E-CyberDigital Poetry: To Grasp or to Build a Genre Identity through a Term’s Choice?

   In recent years, the field of digital poetry had at least three major critical monographs
   discussing the genre and its state-of-the-art. Loss Pequeño Glazier (2002), Brian Kim
   Stefans (2003) and Christopher T. Funkhouser (2007) have not only introduced new
   critical perspectives, but have also discussed the genre’s problematic definition and its
   denominations’ variety: e-poetry, cyberpoetry and digital poetry.
   Considering Theo Lutz’s Stochastische Texte (1959) as the first work of
   programmable poetry, one should note the genre’s long history of practice in spite of
   its shorter history of critical writing. Therefore, the way authors have been coining
   and defining the genre itself claims for a theorization standpoint and helps shaping the
   field towards a specific path and perhaps a crystalized historical construction.
   Do the referenced terms position their authors in a similar flow of thought? By
   following a concept’s trajectory and the author’s choice, one must consider the fact
   that its crystallization will shape future critical writing. In this sense, it is important to
   

   Alvaro Seica - 04.02.2015 - 19:09