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1. string-code

   This poem, together with 'Square 01', is part of an ongoing series of interactive, experimental and generative poetic texts to generate visual compositions, which fill the viewable space in time, with a growing pattern triggered by sound and silence. If the sound is loud the letters become thicker and bigger. As in many of my pieces, the poems don’t exist until the viewer interacts with them. String_code is the visual representation of the code in Square 01, this is why I am presenting both as a pair. In all poems, the three communication systems converge: image, writing and code. Square 01 is formed by the western alphabet. All the letters appear lineally, in rows, superimposed over each other, until they eventually become an indistinguishable blob. It was my intention to explore the tradition of concrete poetry, its formal representations and production processes using the programming language of Processing. Taking model in Hansjorg Mayer’s alphabetenquadratbuch poem, its minimalist visual form of multiple layers, the desire to escape from the linguistic through the obliteration of the letters and the encapsulation in it by the square.

   Scott Rettberg - 22.09.2011 - 15:17

2. Enter:in' Wodies

   Enter:in' Wodies is the intermedial installation, where the person interacts with the work via motion sensing input device Kinect. The main idea is to imagine the person, whose interiour you would desire to read. You can choose from two models – man or woman. After the first text that explains the initiation to enter other person, you interact with the work by choosing the body parts by touching with your hands the imaginary being. The body parts refer to seven organ systems. To reveal the poems connected with the particular human biological systems, you have to make movements with your hands to uncover the words (interaction area is defined by your physical distance of hand from the sensor). The revelation of each part brings about the biological image of its cell textures, of the music (which has its unique corresponding sound that goes with the main melody) and of the poetic text about the system's exceptionality. After having read all the pieces, the final text appears that informs about your leaving the other person's body.

   Zuzana Husarova - 30.09.2011 - 17:04

3. Le Rabot poète

   Le rabot-poète appartient à la série des « petits poèmes à lecture inconfortable ». Le lecteur doit en permanence déplacer la souris d’avant en arrière s’il veut  « raboter » l’aplat qui se reforme continuellement et ainsi accéder à la lecture de l’animation qui se déroule sous ce dernier. Qui, du texte ou du lecteur, contrôle l’autre ? Le ridicule ou le jeu ne l’emportent-ils pas sur le littéraire ? Que lit-on quand le zapping et l’action sont ainsi forcés ? Mais finalement, raboter la couleur de l’eau pour revenir sur l’eau dans l’animation, n’est-ce pas tout simplement réaliser une figure de rhétorique dont le lecteur est l’instrument ? Alors : immersion dans le texte ou, au contraire, le texte s’immerge-t-il jusque dans le lecteur ?

   Poésie du dispositif, de la relation plus que de l’écrit ; un texte à voir et à lire qui n’est plus pensé ni comme un ensemble de mots, ni en termes d’image.

   Philippe Bootz - 04.10.2011 - 01:36

4. Aesthetics and Literature: A Problematic Relation?

   The paper argues that there is a proper for literature within aesthetics but that care must be taken in identifying just what the relation is. In characterising aestehtic pleasure associating with literature it is all too easy to fall into reductive accounts, for example, of literature of merely "fine writing". Bellelettrist or formalistic accounts of literature are rejected, as are to other kinds of reduction, to pure meaning properties and to a kind of narrative realism. The idea is developed that literature - both poetry and prose fiction - invites its own distinctive kind of aesthetic appreciation which far from being at odds with critical practice, in fact chimes well with it.  

   Kristina Gulvik Nilsen - 18.10.2011 - 14:05

5. To Be or Not To Be Mouchette

   Me, Mouchette, the online virtual character, I have an unusual status of existence. Regarding the art of my website (www.mouchette.org) I am the author and the creation at the same time, and yet through my remote internet life I remain invisible, anonymous, genderless, untouchable, neither alive or dead. Therefore participants of my interactive website confide in me in the most intimate way, as if were an imaginary being, living in their own head. Inside their own thoughts, no subject is taboo, fear, pain, life and death or even the temptation of suicide, and with me people feel free to talk about everything. With the reactions of the participants to my website I have composed animation films displaying many of the texts I received, spoken out by pixellated characters who tell their most private thoughts about their experience of surviving suicide, their own or someone else’s. My personality embraces all of my participant’s minds and together we form a collective consciousness pondering over questions of life and death in the digital era.

   David Prater - 24.10.2011 - 10:40

6. Slaaplied (Lullaby)

   Dit gedicht is als het ware geboren uit een Sinfonia van Johann Sebastian Bach, hypnotisch gespeeld door Glenn Gould. De lezer wordt verplaatst naar een ziekenhuis of een verzorgingshuis, waarin een oud iemand de laatste uren van zijn leven is aangekomen. Hij bevindt zich in een staat tussen waken en slapen.  OPGEPAST: ZEER ONTROEREND! Slaaplied is verschenen in het Nederlands, Engels, Duits en Tsjechisch.

   David Prater - 09.11.2011 - 15:25

7. Digital poetry: Comparative textual performances in trans-medial spaces

   This study extends work on notions of space and performance developed by media and poetry theorists. I particularly analyze how contemporary technologies re-define the writing space of digital poetry making by investigating the configuration and the function of this space in the writing of the digital poem. Thus, I employ David Jay Bolter's concept of "topographic" digital writing and propose the term "trans-medial" space to describe the computer space in which the digital poem exists, emerges, and is experienced. With origins in Italian Futurism, the literary avant-garde of the first half of twentieth century, digital poetry extends the creative repertoire of this experimental poetry tradition using computers in the composition, generation, or presentation of texts. Because these poems convey a perception of space as changeable and multiple (made of computer screen and code spaces), this "trans-medial" space is both self-transformative (forms itself as it self-transforms) and transforming (transforms what it contains).

   Jill Walker Rettberg - 05.12.2011 - 13:22

8. New Directions in Digital Poetry

   As poets continue to use digital media technology, functionalities of computing extend aesthetic possibilities in documents focusing attention on crafting verbal content. Utility of these machines and tools enables multiple types of compounded articulation (combinations of verbal, visual, animated, and interactive elements). Building larger public awareness of the mechanics of digital poetry, New Directions in Digital Poetry aspires to influence the formation of writing with media in literary society of the future, specifically as a record of a particular technological era.

   Scott Rettberg - 24.01.2012 - 13:52

9. Seedsigns for Philadelpho

   An intermedia elegy, animated in Flash created to mark the passing of Brazilian poet, Philadelpho Menezes (1960-2000). As aND explains in the piece, "I was harvesting the seeds of False Blue Indigo (Baptisia Australis) the day I received news Philadelpho had died." The work reveals a series of letters and words formed from seeds to music.

   Davin Heckman - 03.02.2012 - 11:32

10. Unoriginal Genius: Poetry by Other Means in the New Century

    Unoriginal Genius: Poetry by Other Means in the New Century

    Eric Dean Rasmussen - 03.02.2012 - 15:47

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