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1. Ocotillo

   This is an artist's talk about "Ocotillo." It is a textual and visual work. The basic idea is to read from generated arrangements of textual strings, performing real-time versions of poetic works. These are not generator works but deliberate modifications within textual fields, a continuing stage in the evolution of this particular, and literary rooted form of practice. The objective of this creative work is to push these kinds of concentrated poetic textuality further, offering it as one possible direction in the field. (Source: Author's abstract, 2012 ELO Conference site)

   Eric Dean Rasmussen - 30.05.2012 - 11:27

2. Slow Games, Slow Poems: The Act of Deliberation in "Slow Year"

   “Video games are actions,” declared Alexander Galloway in a manifesto that stakes out the
   essential differences between videogames and other forms of expressive culture, such as
   literature, photography, and cinema. But what about videogames in which action looks like
   inaction? What about videogames in which action means sitting still? What about a videogame
   that purports to be less a game and more a meditation—a work of literature? In this paper
   I explore a prominent yet remarkably understudied example of a slow game—a game that
   questions what counts as “action” in videogames. This game is A Slow Year (2010), designed
   for the classic Atari 2600 console by Ian Bogost. Comprised of four separate movements
   matching the four seasons, A Slow Year challenges the dominant mode of action in videogames,
   encouraging what I call “acts of deliberation.” These acts of deliberation transform the core
   mechanic of games from “action” (as Galloway would put it) into “experience”—and not just
   any experience, but the kind of experience that Walter Benjamin identifies as Erfahrung, an
   

   Eric Dean Rasmussen - 21.06.2012 - 12:55

3. Words and pictures ex machina? Hypertext and ekphrasis

   Following the concept of "remediation" and the premise that "all of our examples of hypermediacy are characterized by this kind of borrowing, as is also ancient and modern ekphrasis" (Bolter and Grusin, 1999: 44-45), I would like to take under consideration a literary work of Portuguese poet Vasco Graça MouraGiraldomachias / Em demanda de Moura (co-author Gérard Castello-Lopes; 2000). 

   Scott Rettberg - 09.01.2013 - 10:28

4. Fugues: An Associative Project on Reading Poetry through the Use of Hypermedia

   Fugues, a project of the NT2 Laboratory at the Université du Québec à Montréal, is both an hypermedia adaptation of the poem Piano published 2001 by Quebec author René Lapierre and a literary critical analysis of that same poem. The Fugues Project originally came about when Bertrand Gervais asked NT2 Lab students to think about how to read and to analyze a paper-published poem through hypermedia. Instead of writing a dissertation as one usually does when reading a text in a literature classroom, participants were asked to adapt Piano through hypermedia. The goal was to think about new ways of reading printed text using electronic tools. The participants came up with an associative way of exploring this particular poem. This experimental project was designed not only to build an audience for new media literary works and writing by just presenting existing hypermedia works, but also to ask these literary scholars to think how they would go about writing a paper about a poem in a non-textbook manner. The idea behind this was to put theory into practice.

   Scott Rettberg - 09.01.2013 - 13:45

5. Literary Programming (In the Age of Digital Transliteration)

   This paper is proposed as the second part of an essay, the first part of which was presented at DAC'98, having the overall title 'Performances of Writing in the Age of Digital Transliteration'. Part one of this essay raised questions -- contextualized by reference to Walter Benjamin and Friedrich Kittler, amongst others -- concerning the intrinsically digital characteristics of text, along with certain implications of these characteristics (and what they have entailed, specifically and especially: the Net) for traditional literary culture, for the latter's critique, and for textual, especially artistic textual practices.

   Scott Rettberg - 19.01.2013 - 01:23

6. The Virtualization of Poetry and Self

   As with other world-changing discoveries or events, the use of computers and the Web have contributed to the ‘virtualization’ of ‘the ideas domain’ of poetry. By virtualization it is assumed that something has been made virtual. But not virtual as understood by the scientists or by commerce or by the entertainment industry that see virtualization as the transferring of a function from one physical form to another, like a virtual surgery with patient and doctors in separate physical locations or a virtual on-line marketplace like eBay or a virtual terrain as in virtual reality (VR) games. The virtualization of poetry does not mean taking the function of poetry in print or in performance and transferring it to the web, although this can be and has been a result of the virtualization. The virtualization of poetry has meant that the ideas domain of poetry has been re-thought and new questions and problems posited as a result of the new digital technologies. It has also meant that new actualizations have been realized in media that were not available to the poet in the past.

   (Source: Author's abstract)

   Scott Rettberg - 30.01.2013 - 17:36

7. Digital Word in a Palm: Digital Poetry between Reading and immersive Bodily Experience

   Poetry’s traditional role as the lyric atmospheres and projective saying provider is fundamentally being challenged by information technologies that are able to create their own particular atmospheres, new ways of user related text organization, and novel generations of hybrid and artificial languages. Novel textual practices are emerging in which presentation, linear way of narrative, depths, and meaning are being replaced with liquid textscape, blog- based remixability, the multi-sensuous textscape experience and special effects (e.g. Amy Alexander’s VJ shows featuring text-based visuals generated live from Internet engines queries). Text is undergoing radical shifts in its nature addressing both the author and the reader; within a new media paradigm we are facing the digital verbal with the new properties, which allow people to write, read, communicate, learn, explore and create in novel ways.

   Scott Rettberg - 30.01.2013 - 21:52

8. Towards the delight of poetic insight

   I am interested in the specific nature of POETIC insight and knowledge (Erkenntnis) in relation to other systemic spheres like, e.g., science or religion. As an approach to this subject my paper will discuss how poetic knowledge is addressed by the handling of ‘innovation’. Innovation will be observed as feature between reflexivity and potentiality in poetic experimentation. These poetological categories will be related to both practical and theoretical forms of technology driven language art. As exemplary forms I will focus on the radio play "Die Maschine" (The Machine, 1968) which simulates an Oulipo computer and was written and realized by George Perec and on its poetic comment by Florian Cramer (pleintekst.nl, 2004) as well as on the historical concept of ‘artificial poetry’ by Max Bense (in respect of his 100st anniversary) in the light of recent poetological concepts of innovation.

   (Source: Author's abstract)

   Audun Andreassen - 14.03.2013 - 15:18

9. Mining the Arteroids Development Folder

   In September 2008 Jim Andrews shared with me the “Arteroids Development Folder:” a collection of drafts, versions, source files, and other materials that document the work that led to the publication of his “poetic shoot 'em up" Arteroids (http://www.vispo.com/arteroids/index.htm).

   Audun Andreassen - 03.04.2013 - 09:54

10. 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

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