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Aesthetic Autonomy and Sensuous Appearing: Two Questions in the Aesthetics of Digital Poetry
In this paper I would like to consider the aesthetics of digital poetry with reference to ideas of aesthetic autonomy and sensuous appearing.
The notion of autonomy, whether of the art-work or of a mode of experience with which it is associated, has been central to the historical development of the idea of the aesthetic itself. Andrew Bowie defines it as ‘the idea that works of art have a status which cannot be attributed to any other natural object or human product’ (Aesthetics and Subjectivity, p. 2). It is an idea which has been seen as ideologically driven, as when Terry Eagleton suggests that ‘the idea of autonomy – of a mode of being which is entirely self-regulating and self-determining – provides the middle class with just the ideological mode of subjectivity it requires for its material operations’. Yet Eagleton also argues that aesthetic autonomy can provide a ‘vision of human energies as radical ends in themselves which is the implacable enemy of all dominative or instrumentalist thinking’, implying that it has potential for avant-garde or critical purposes (Eagleton, Ideology of the Aesthetic, 9).Eric Dean Rasmussen - 08.03.2011 - 16:05
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Digital Literature and the Modernist Problem
What is the status of digital literature in contemporary culture? After more than 20 years of production, the audience for digital literature remains small in comparison with the audience for "serious" or popular fiction. Many scholars and practitioners assume that digital literature constitutes a contemporary avant-garde, which does its work of experimentation outside or in opposition to the mainstream. Recent comparisons of digital poetics and early modernist art practices (e.g. by Scott Rettberg and Jessica Pressman) indicate continued interest in this issue. The notion of the avant-garde might seem thoroughly out of date in a consideration of the digital future. Important theorists (e.g. Huyssen, Drucker) have argued that the avant-garde is no longer viable even for traditional media and art practices. On the other hand, the avant-gardes of twentieth-century modernism made claims about the function of art that remain surprisingly influential today, within the art community and within popular culture.
Maria Engberg - 28.03.2011 - 16:47
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This is how you will die
A recombinatory digital fiction/poem for predicting death. It uses the stripped down the code of an online slot machine game, replacing the cards with 15 five-line death fictions/poeticals. The artwork recombines the scenarios randomly every time you spin. The writing divides the scenarios into location, method, result and post-result of each death possibility. Additionally, you can win death videos/poetry visuals and free spins. Some are rather scared of this creature's forecasting tone, while others exalt in the absurdist joy of the way all stories are interchangeable, interrelated and happily random.
(Source: Author's description from Electronic Literature Collection, Volume Two)
Scott Rettberg - 20.04.2011 - 13:23
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Project for Tachistoscope [Bottomless Pit]
My work generally references the histories of the avant-garde and popular culture. The starting point of this piece is the historical coincidence that "subliminal advertising" and "concrete poetry" were introduced as concepts at nearly the same time. The piece is, as far as I know, the first to use subliminal effects in a work of electronic literature. A fuller description/statement is incorporated in the work itself.
(Source: Author description, Electronic Literature Collection, Volume One.)
Eric Dean Rasmussen - 27.04.2011 - 14:49
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Event and Meaning: Reading Interactive Installations in the Light of Art History
Roberto Simanowski demonstrates in a close reading of two interactive in- stallations that they do not simply create an event as “a period of time to be lived through” (Bourriaud 15). Looking at Still Standing by Bruno Nadeau and Jason Lewis and Zachary Booth Simpson’s Mondrian, Simanowski maintains that these pieces do not only offer two different concepts of the interactors’ actions and hence body experiences; they also engage in a very difficult way with the issues of inter- and transmediality and thereby refer to the history of the avant-garde movements of the early 20th century.
(Source: Beyond the Screen, introduction by Jörgen Schäfer and Peter Gendolla)
Scott Rettberg - 23.05.2011 - 11:50
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"No Preexistent World": On "Natural" and "Artificial" Forms of Poetry
Peter Gendolla pursues a paradox accompanying the literary avant-garde from Romanticism to the most current electronic installations; namely, that they want to bring back the cold, dead culture into “natural” life and that they are doing this with the most advanced technological procedures. They become more and more “technical” with the impulse not only to dissolve the division of the genres but also to transfer art at least by way of literary means into “natural” forms of life; thus, they are continually developing new forms of aesthetic difference that have to be differentiated from either nature or culture.
Scott Rettberg - 24.05.2011 - 11:43
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Saving the Alphabet
This subtly haunting poem tells the story of how each letter from the alphabet disappeared, or was made to disappear, by corporations obeying a secret agenda. The conspiracy theory overtones are underscored by the use of sound, a short loop of metallic whispering wind or water and a handful of soft musical notes. Clicking on each letter on the left hand column will take you to the corresponding letter and narrative of its disappearance, with the large letter disappearing as you read the accompanying text, but it also starts a slower, almost imperceptible, fading process of those letters in the entire work. If you click through quickly and read the whole poem you may not even notice, but step away for a minute and you’ll find that the letters you have read have disappeared from all the language in the poem and the result may be challenging to read (see image below). This more than anything provides a visceral impact, as we try to read a barely functional language mutilated by loss of letters.
(Source: Leonardo Flores)
Patricia Tomaszek - 26.05.2011 - 14:02
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Code, Interpretation, Avant-garde
Code, Interpretation, Avant-garde
Eric Dean Rasmussen - 29.08.2011 - 17:14
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Acoustic and Visual Imagination in Poetry from the Neo_Avantgarde to New Media Poetry in Yugoslav and Post-Yugoslav Poetry
At the beginning of my text I will consider contemporary interpretations of the visual and acoustic aspects of poetry. The main references will be texts written by American poets, performers, artists, theoreticinas such as Charles Bernstein, Michael Davidson, and Johanna Drucker. Shortly, I will point to the history of these phenomena in the West. Special attention will be given to the concepts of plurivocality and plurality of visual projections in different kinds of experimental poetry.
In applying these concepts in considering Yugoslav Avant-Gardists: Franci Zagoričnik and OHO group (Slovenia), Vlado Martek (Croatian) and Katalin Ladik and Awin authors (Serbia) I will first discuss the status of experimental poetry in so called small cultures. Then I will show the range of experimentation in the work of the poets I have mentioned, who worked within the Yugoslav socialism and post-Yougoslav postsocialism.
Eric Dean Rasmussen - 30.08.2011 - 11:25
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Humanities Games and the Market in Digital Futures
Humanities Games and the Market in Digital Futures
Eric Dean Rasmussen - 20.10.2011 - 08:50
