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Toward an Ontology of the Field of Digital Poetry
author-submitted abstract:
This essay proposes a model of an ontology based on the ontological model by Spinoza commented by Deleuze. It aims at establishing properties of a tool for indexing documents related to the field of digital poetry. It is build in three stages.
In a first stage, we build a normalised graphical representation of the Spinoza’s model. We show that this philosophical model can easily be schematised in a combination between a relation/entity model and an set representation with internal graphical lows. These graphics are normalised because each part of them has a unique and constant significant. So, such graphics can be used to make graphical treatment of information in relationship with databases.
Figure 1 : schema of an individual
Eric Dean Rasmussen - 27.01.2011 - 15:29
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Intertextuality in Digital Poetry
Despite postmodern and deconstructivist studies in the field, interxtuality is still often viewed as a process of textual closure: in that vision a text refers to an older text, and once we have found the source, the intertextual interpretation is completed.
Riffatterre, for example, seems to suggest this in his article ‘Intertextuality vs Hypertextuality’ (1994). Riffaterre stated here that intertextuality and hypertextuality should be distinguished, since the former is finite, while the latter is infinite. He defines hypertextuality as ‘the use of the computer to transcend the linearity of the written text by building an endless series of imagined connections, from verbal associations to possible worlds, extending the glosses or the marginalia from the footnotes of yesteryear to metatexts’ (Riffaterre 1994: 780) Intertextuality, on the other hand, ‘depends on a system of difficulties to be reckoned with, of limitations in our freedom of choice, of exclusions, since it is by renouncing incompatible associations within the text that we come to identify in the intertext their compatible counterparts’ (ibid: 781).
Eric Dean Rasmussen - 27.01.2011 - 17:01
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Bearing the Fruits of E-Poetry: A Personal Decennial View
Bearing the Fruits of E-Poetry: A Personal Decennial View
Scott Rettberg - 20.05.2011 - 13:35
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The Present of the Word: Poetry's Coming Digital Presence (on the occasion of the 20th anniversary of the Poetics Program)
The Present of the Word: Poetry's Coming Digital Presence (on the occasion of the 20th anniversary of the Poetics Program)
Scott Rettberg - 21.05.2011 - 09:42
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Programmed digital poetry: a poetry of the apparatus; media art?
Programmed digital poetry: a poetry of the apparatus; media art?
Eric Dean Rasmussen - 30.08.2011 - 10:50
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The Digital Poem against the Interface Free
Recent e-literature by Judd Morrissey and Jason Nelson represents a broad movement in e-literature to draw attention to the move toward the so-called “interface free” – or, the interface that seeks to disappear altogether by becoming as “natural” as possible. It is against this troubling attempt to mask the workings of the interface and how it delimits creative production that Judd Morrissey creates “The Jew’s Daughter” – a work in which readers are invited to click on hyperlinks in the narrative text, links which do not lead anywhere so much as they unpredictably change some portion of the text. Likewise working against the clean and transparent interface of the Web, in “game, game, game and again game,” Jason Nelson’s hybrid poem-videogame self-consciously embraces a hand-drawn, hand-written interface while deliberately undoing videogame conventions through nonsensical mechanisms that ensure players never advance past level 121/2. As such, both Morrissey and Nelson intentionally incorporate interfaces that thwart readers’ access to the text so that they are forced to see how such interfaces are not natural so much as they define what and how we read and write.
Eric Dean Rasmussen - 05.10.2011 - 09:09
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Carrying across Language and Code
With reference to electronic literature translation projects in which we have been involved as translators or as authors of the source work, we argue that the process of translation can expose how language and computation interrelate in electronic literature.
Eric Dean Rasmussen - 12.06.2012 - 16:36
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Adventures in Transition: Jason Nelson’s Scary Journey from Flash to J-Code and Desk to Hand
Perhaps the most disturbing and exciting periods of a digital poet’s creative practice is the transitional period between using one technology and learning another. For the past eight years I’ve been predominately a user of Adobe Flash. I say user, because in many ways
the software is a drug, carving response and reward pathways into the cranium fibers. My creations have been the beneficiary of a tool ideal for multi-layered/dimensional and interactive artworks viewable on all major platforms. However, it is this platform issue and Adobe’s losing
position in its battle with the Tyrant Apple that is quickly making Flash obsolete, unplayable in the fastest growing segment of electronic devices, tablets and phones. This very well might turn around and Flash might save itself. But suffice it to say, the net/portable creative ndustries have left Flash to fend for itself.
(Source: Author's abstract, 2012 ELO Conference site)Eric Dean Rasmussen - 22.06.2012 - 16:59
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Digital Poetry Beyond Avant-Garde Readings: Proposing a Digital Lyric
Most often when critics try to demonstrate the "literariness" of digital poetry, the theory they rely upon derives from the avant-garde practices of the twentieth century. To expand this dialogue with literary traditions, this paper explores the possibility of a digital lyric. Through a textual analysis of selected digital poems, the lyric genre is reconsidered to meet the needs of digital writing in two ways. First, by drawing on key works from posthuman studies (Hayles; Haraway; Turkle) the lyric subject is re-envisioned beyond the limiting (and often assumed) Romantic-era definitions. Second, by revising the lyric subject with concepts from digital studies, a dialogue opens up with other generic traditions of the lyric: notions of brevity, emotional functions of the utterance, and even musical language. As well, the function of the lyric as a communal, performative gesture becomes an especially suitable poetic convention for the digital realm.
Scott Rettberg - 08.01.2013 - 17:10
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Le(s) Mange Texte(s): Creative Cannibalism and Digital Poetry
Digital poetry always involves mathematical concepts. Fusing together textual elements is an additive process, at very least. Combining files and presenting them via computer screens multiplies possibilities for poetry, and the sum, or sums, of the artistic equation are often worthy of the effort involved. Thus, what we factor into the equation, and how it is factored in, is important. Considering some of the successful works of digital poetry that appeared in the hypermedia journal Alire in France, and in other historical and contemporary works, I see a trait that emerges despite overt aesthetic differences and variant approaches in works produced that I wish to associate with a liberating and useful poetical concept that emerged in South America nearly a century ago.
Scott Rettberg - 30.01.2013 - 22:08
