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Poemas no meio do caminho
This is a combinatory text. There are two versions of the text – two ways of reading it: horizontally and vertically. Both versions allow the reader to save her own textual production, and then to send that production to a weblog. The reader can recombine the text according to the paradigmatic axis of language: the reader selects, the machine morphs/combines. However, some “obligatory” options resist. By quoting Dante, Poemas no meio do caminho is a metaphor of the reading practice: “poemas no meio do caminho da leitura” (“poems midway upon the journey of reading”). It suggests an ephemeral poetic construction that appears and vanishes in a click. On the one hand these poems destroy the sacredness of the poetic language; on the other they realize the poïesis.This work has won (ex-aequo) the 4t Premi Internacional "Ciutat de Vinaròs" de Literatura Digital.
Patricia Tomaszek - 13.01.2011 - 17:49
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Digital Art and Meaning: Reading Kinetic Poetry, Text Machines, Mapping Art, and Interactive Installations
From the publisher: How to interpret and critique digital arts, in theory and in practice Digital Art and Meaning offers close readings of varied examples from genres of digital art, including kinetic concrete poetry, computer-generated text, interactive installation, mapping art, and information sculpture. Roberto Simanowski combines these illuminating explanations with a theoretical discussion employing art philosophy and history to achieve a deeper understanding of each example of digital art and of the genre as a whole.
(Source: University of Minnesota Press catalog description)
Eric Dean Rasmussen - 24.02.2011 - 10:25
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Dovetailing Details Fly Apart — All Over, Again, in Code, in Poetry, in Chreods
"Dovetailing Details Fly Apart - All Over, Again, In Code, In Poetry, In Chreods" by Strickland and Lawson Jaramillo carries the debate into the analysis of specific poems and poetic practices, both written and spoken, graphic and sonic, alphabetically and digitally coded. The essay also introduces a new reference for the debate - namely, the work of Gregory Bateson, who is cited not just as a supporting 'theory' or philosphical framework, but in the spirit of differential discourse that distinguishes Bateson's work.
(Source: introduction at electronic book review)
Scott Rettberg - 26.02.2011 - 22:59
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Code Movie 1
Code Movies are made with hex, ASCII, and binary codes extracted from JPG images. Saved as simple text, they are reworked and edited in Flash. They are part of a larger project I've been working on since 2004 (//**Code_UP). The submitted work (Code Movie 1) is made of hexa code. The project interrogates the role of the code in meaning construction and the new forms of translations that digital languages embody. It questions: Now that the Cybertext confuses itself with the notion of Place (a web address, for example) and that Image only reveals itself through a "hyperinscription" (a URL), can we think in a poetics of transcodification between media and file formats? Can we keep talking about "WYSIWYG" utopias? How does it affect our ways of reading, seeing, and perceiving?
(Source: Author's description in the ELC 1)
Scott Rettberg - 09.04.2011 - 16:11
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TLT vs. LL
The z dimension in this work is important to the conceptual as well
as the physical operation of the work. Normally, I am not so much
concerned beyond the xy. My work is first graphic, then literary,
interactive, and whatever else, so a concern beyond 2D is not high
priority – until now, and with thanks in part to Rita Raley’s z
queries.
The idea of 'versus' (as opposition) demands at the
least two sides, so, it could be represented visually with just xy.
Previous 'dual' examples (and these are xy representations):
warnell.com/pbn_io/dialog04.htm. Subject: dialog
Email from John Cayley (/w Rita Raley), 2004
warnell.com/real/dialog.htm. Dialog
Email exchange with visual poet Jim Andrews, 1997
So, thinking along that z line... the opposition
comes not from the left or right, but from back to front ( 1 white from
9 x white moves to top )Rita Raley - 05.05.2011 - 14:56
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Code.surface || Code.depth
This essay begins by identifying a central idea in the critical discourse on code art and code poetry: code is a deep structure that instantiates a surface. The AP Project’s Jonathan Kemp and Martin Howse, for example, explain that their work makes “manifest underlying systematics,” that can make the digital “physical, audible and visible through geological computing.” In what sense, if at all, can we trace a computing operation down to a foundation, bottom, or core? Why do we maintain this cultural imaginary of code and how has it come into being? Moreover, how have the metaphors of software engineering – particularly the notion of structured layers and multitier architectures – been put to artistic use? The thematizing of layers, surfaces, and spatial metaphors has become quite intricate in new media writing practices, as I will demonstrate in a reading of “Lascaux.Symbol.ic,” one of Ted Warnell’s Poems by Nari, and recent projects by John Cayley, including Overboard and Translation.
Rita Raley - 05.05.2011 - 16:06
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Interferences: [Net.Writing] and the Practice of Codework
Codework refers to the use of the contemporary idiolect of the computer and computing processes in digital media experimental writing, or [net.writing]. Some of the prominent practitioners include Alan Sondheim, who has given the practice and genre its name, Mez (Mary-Anne Breeze), Talan Memmott, Ted Warnell, Brian Lennon, and John Cayley. These writers also use different terms to refer to work: Mez composes in a neologistic "net.wurked" language that she has termed m[ez]ang.elle; Memmott uses the term "rich.lit"; Warnell names some of his JavaScript poems "codepoetry"; Lennon refers to "digital visual poetics"; and Cayley produces algorithmic, generative texts, or "programmable poetry." Writers and artists who have taken up the general practice of codework heed the mandate - "use the computer; it is not a television" - and strive to foreground and theorize the relations between interface and machine and so reflect on the networked environment that constitutes and is constituted by a digital text. The precise techniques vary, but the general result is a text-object or a text-event that emphasizes its own programming, mechanism, and materiality.
Rita Raley - 05.05.2011 - 23:09
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The Code is not the Text (unless it is the Text)
An essay considering the nature of "codework" and arguing against the collapse of "code" and "text" into one category. Cayley considers the different modes of reading involved in reading works that may be read both as computational artifacts and as works of literature.
Rita Raley - 05.05.2011 - 23:14
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GENERATION[S]
GENERATION[S] expands upon a series of short fictions generated by Python scripts adapted (with permission) from two 1k story generators written by Nick Montfort, and incorporates GORGE, a never-ending tract spewing verse approximations, poetic paroxysms on food, consumption, decadence and desire, a hack of Montfort’s elegant poetry generator Taroko Gorge. There was only one rule in creating GENERATION[S]: No new texts. All the texts in this book were previously published in some way. The texts the generators produce are intertwined with the generators’ source code, and these two types of texts are in turn interrupted by excerpts from the meta narrative that went into their creation. Most of the sentences in the fiction generators started off as Tweets, which were then pulled into Facebook. Some led to comments that led to responses that led to new texts. All these stages of intermediation are represented in the print book iteration of GENERATION[S].
(Source: Author's website)
Scott Rettberg - 20.05.2011 - 14:44
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Encapsulating E-Poetry 2009: Some Views on Contemporary Digital Poetry
Digital poet and researcher Chris Funkhouser attends E-Poetry 2009 in Barcelona and files a report on what he heard and saw.
Patricia Tomaszek - 25.05.2011 - 16:31
