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1. Ping Poetics

   Sandy Baldwin investigates the manner in which a computer "ping trace" can be classified as a form of digital poetics, and discusses the underlying symbolic practices of both poesis and poetics that encompass coding and computation.

   Eric Dean Rasmussen - 21.09.2010 - 11:27

2. A Response to Twelve Blue by Michael Joyce

   A Response to Twelve Blue by Michael Joyce

   Eric Dean Rasmussen - 11.03.2011 - 11:29

3. Reading Time: For a Poetics of Hypermedia Writing

   Reading Time: For a Poetics of Hypermedia Writing

   Eric Dean Rasmussen - 11.05.2011 - 12:05

4. Writing the Virtual: Eleven Dimensions of E-Poetry

   Eleven characteristics of networked digital poetry, a category that encompasses an enormous variety of work, are discussed and illustrated with examples. Issues raised include the recalibration of the writing/reading relationship, the nature of attachment at the site of interaction, an architectonic quality of instrument-building that characterizes many pieces, differing treatments of time and “place”, the use of recombinant flux, a performative character displayed by many works, the omnipresence of both translation and looping, as well as pervasive references to ruin and hybrid states of mixed reality.

   (Source: article abstract)

   Eric Dean Rasmussen - 06.02.2012 - 10:45

5. Literal Art

   John Cayley dadas up the digital, revealing similarities of type across two normally separate, unequal categories: image and text. "Neither lines nor pixels but letters," finally, unite.

   (Source: ebr First Person thread page)

   Eric Dean Rasmussen - 15.02.2012 - 13:15

6. Cybertext Poetics: The Critical Landscape of New Media Literary Theory, A Review

   Cybertext Poetics: The Critical Landscape of New Media Literary Theory, A Review

   Patricia Tomaszek - 09.09.2012 - 22:21

7. Poetic Transformations in(to) the Digital

   In our contribution we will discuss some projects in the field of digital poetics which transform or recreate poetic pre-texts that were not conceived for the electronic space. Our interest is to focus on the question of the site of digital poetics, i.e., on its discursive or systemic affiliation. These projects of transformation imply a justification: We derive digital poetics not primarily from theories or discourses of information and communication technology or the digital media culture, but from theories and histories of poetry and “language art” itself. While doing so, we do not ignore that electronic or computer poetry is turning problems of the actual media and technological culture, as well as its theoretical description, into poetological and artistic categories and categorization. The perspective on art itself means, quoting from Loss Glazier (2004), “Siting the ‘poetry’ in e-poetry, which means to read digital poetics against its poetological and historical background.” The examples that will be discussed refer to the tradition and evolution of language art by means of intertextuality.

   Johannes Auer - 05.11.2012 - 17:56

8. Communities/Commons: A Snap Line of Digital Practice

   “Communities/Commons: A Snap Line of Digital Practice” presents a brief history of digital poetry, from the perspective of the Electronic Poetry Center (EPC), Buffalo, and the international E-Poetry Festivals of digital literature, art, and performance (E-Poetry). The paper engages the discipline from various perspectives, considering its relation to historic contextualizing movements and institutional mechanisms. Determining a renewed vision of E-Poetry community, it is argued, are its exuberant origins: (1) the U.S. small press movements of the later Twentieth century; (2) the activities and philosophies of the Electronic Poetry Center; (3) its self-definition as more broadly-conceived than that of any specific category of digital literature; (4) the pre-existing literary ground of Black Mountain, Language Poetry, and related practices; (5) the vibrancy of the as-then-constituted Poetics Program at Buffalo, and; (6) a “symposium of the whole”, the continued emerging importance of enthnopoetic localizations to an eventual realization of contemporary poetics. Finally, a call is made for the field being adaptable and more generous with its frames of reference.

   Patricia Tomaszek - 29.04.2013 - 15:57

9. Jumping to Occlusions

   "Jumping to Occlusions" is perhaps the first thorough statement of a poetics of online space. In the present hypertextual trickster edition, a lively investigative language of the link is employed helping to develop this essay's written argument through its own hypertextuality -- its jumps, sidebars, graphics, embedded sound files, misleadings, and other features. This essay explores electronic technology's opportunities for the production, archiving, distribution, and promotion of poetic texts but most importantly, argues that electronic space is a space of writing. For previous excursions into this a written terrain of links and jumps one need only look to the language experiments of certain poets writing in this century. Such poets include Gertrude Stein, Charles Olson, Robert Creeley, and Language-related experimentalists such as Charles Bernstein, Ron Silliman, and Susan Howe. Electronic writing, like previous instances of writing, engages the double "mission" of writing evident in some of this experimental poetry: to varying degrees, writing is about a subject, but also about the medium through which it is transmitted.

   Scott Rettberg - 01.07.2013 - 12:22

10. The Idiocy of the Digital Literary (and what does it have to do with digital humanities)?

    What does the category of the literary give to digital humanities? Nothing and everything. This essay considers the "idiocy" of the literary: its unaccountable singularity, which guarantees that we continue to return to it as a source, inspiration, and challenge. As a consequence, digital humanities is inspired and irritated by the literary.

    My essay shows this in three ways. First, through a speculative exploration of the relation between digital humanities and the category of "the literary." Second, through a quick survey of the use of literature in digital humanities project. Thirdly, through a specific examination of TEI and character rendering as digital humanities concerns that necessarily engage with the literary. Once again, the literary remains singular and not abstract, literal in a way that challenges and provokes us towards new digital humanities work.

    Scott Rettberg - 03.07.2013 - 13:00

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