Search
The search found 108 results in 0.016 seconds.
Search results
-
Espacement de Lecture
Florence’s presentation explores how the “espacement” (Mallarme, Derrida) intrinsic to all writing changes in a born-digital context.
The essay is a poetic exploration of how digital writing and reading operate in a new dynamic, exploring existing pathways and structures, innovatively correlated. But this simple change in relations - this new dynamic - does something further. Not only does digital reading/writing make visible and active existing structures of reading and language, it also creates new ones
Ole Samdal - 24.11.2019 - 22:40
-
Taper #5: Pent Up
Each issue of Taper is edited by a collective. Editing and production is done in coordination with The Trope Tank at MIT, a laboratory directed by Bad Quarto proprietor and publisher Nick Montfort. Taper is not officially associated with MIT or hosted on an MIT server, however.
For the fifth issue, the editorial collective consisted of Kyle Booten, Angela Chang, Leonardo Flores, Judy Heflin, and Milton Läufer.
A constraint was established: the core part of each poem—the HTML on the page after the header—could be no more than a tiny 2KB (2048 bytes). Members of the editorial collective recused themselves from discussion of their own submissions. The collective works independently of the publisher to make selections. We thank Sebastian Bartlett for his help in managing the template.
The work in this fifth issue is written in HTML5, using ES6. It has been tested and found to work properly on current Firefox and Chrome/Chromium browsers across current platforms, as well as on Mac OS X Safari; everything does not work on Edge and iOS Safari.
Scott Rettberg - 16.10.2020 - 16:10
-
Approaching the world of an instapoem
Instapoetry is entangled in the ecology of Instagram and the digital media ecology at large, which despite instapoetry’s very conservative output (images of text or images with textual elements), still has caused questions regarding how to approach it. While a lot of poetry on Instagram is simply images of poetry remediated on the social media, there also exist a type of platform literature, or platform poetry, which in this paper is treated as instapoetry proper.
With instapoetry proper the intent of publishing it on Instagram is something that affects how we should approach it aesthetically. From a media ecological and posthumanist perspective; while we use social media to do things, it also affects how we do things.
Cecilie Klingenberg - 20.02.2021 - 14:17
-
Thoreau’s Radicle Empiricism: Arboreal Encounters and the Posthuman Forest
It is time to liberate the forest from the anthropocentric metaphor. Donna Haraway, endorsing Eduardo Kohn’s How Forests Think (2013), says this clearly: “A thinking forest is not a metaphor.” Recent work by Bruno Latour and Isabelle Stengers on “Gaia,” along with Timothy Morton’s concept of the “hyperobject,” demands that we reevaluate our tendency toward metaphor when dealing with trees.
Kohn’s work, along with Michael Marder’s and Peter Wohlleben’s, suggests that we emphasize the cognitive life of trees, rather than harnessing the image of trees as metaphors for human cognition. We must view the forest as a thinking entity in its own right.
In this paper, I examine Henry David Thoreau’s writing as a model for an encounter with trees that moves beyond mere metaphor. Thoreau draws on his position as an American Transcendentalist and an empirical naturalist to approach trees both philosophically and scientifically. As a poet, he does not make poetry out of trees, but instead sees the poetry that trees themselves create.
Cecilie Klingenberg - 26.02.2021 - 14:36
-
ReRites - Raw Output / Responses (paperback)
ReRites is a project consisting of 12 poetry books (generated by a computer then edited by poet David Jhave Johnston) created between May 2017-18. Jhave produced one book of poetry per month, utilizing neural networks trained on a contemporary poetry corpus to generate source texts which were then edited into the ReRites poems. (The limited edition boxset) is a conceptual proof-of-concept about the impact of augmented creativity and human-machine symbiosis.
This book contains 60 pages of poems selected from the over 4500 pages of ReRites poems; some of the Raw Output generated by the computer; and 8 Response essays.
Introduced & edited by Stephanie Strickland with essays by Allison Parrish, Johanna Drucker, Kyle Booten, John Cayley, Lai-Tze Fan, Nick Montfort, Mairéad Byrne, Chris Funkhouser, and an author-note from David (Jhave) Johnston.
David Jhave Johnston - 25.05.2021 - 19:20
-
Grappling With the Actual: Writing on the Periphery of the Real
This essay considers literary realism in relation to two of my own recent works of digital literature: This is a Picture of Wind: A Weather Poem for Phones, and The Pleasure of the Coast: A Hydro-graphic Novel. Both of these web-based works grapple with the actual world we live in: a post-digital world, in which invisible layers of data inform our daily thoughts and actions; a post-human world, of vast oceans and ceaseless winds. These works use the affordances of the internet to call attention to the historical, colonial, elemental, and material substrate of the internet; both attempt to represent the reality of the vast corpus of non-human writing which lurks beneath the mere appearance of the screen. Methodologically, this essay grapples with the material and contextual actualities of these works by turning its attention to earlier analogous moments in the intertwined histories of technology, science, and writing. In particular, this essay is concerned with the technology of the ship, the science of measurement, and the writing of the vast non-human systems of coastlines and winds.
J. R. Carpenter - 27.08.2021 - 12:54
-
A Platform Poetics: Computational Art, Material and Formal Specificities, and 101 BASIC Poems
My digital art is highly computational, or process intensive—it is more about code and symbol manipulation, and less about data, the visualization of data, or multimedia effects. But beyond this, what I do often explores specific computer platforms. In this essay I describe how my project 101 BASIC Poems is part of a platform practice engaging the Commodore 64, the Apple II series of computers, and the BASIC programming language. My project 101 BASIC Poems is an initiative to develop just more than a hundred computational artworks, each one not just a digital text but also a computer program that can and should be run. On the computational end of things, a major inspiration is 101 BASIC Computer Games, a collection of BASIC programs that fired the imaginations and scaffolded the programming ability of many people in the late 1970s and early 1980s.
Nick Montfort - 15.11.2021 - 00:24
-
Nested Folders: On Birds in Digital Poetry
Digital poets have long explored the representation of birds’ physical presence and their mediation through visual and sonic technologies. Noah Wardrip-Fruin attributes the “first experiment with digital literature and digital art of any kind” to Christopher Strachey (302). The word “duck” appears in Strachey’s Love Letter generator, programmed on the Manchester University Computer in 1952. The word is used as a term of endearment; it does not refer to a specific bird. Birds and bugs intermingle in Jörg Piringer’s early iOS app, abcdefghijklmnopqrstuvwxyz (2010). In this piece, the winged creatures are not represented pictorially, but rather, by behaviour. The user selects letter forms from the edges of the screen, which then soar, in the case of birds, or jitter, in the case of crickets. Maria Mencia’s earlier work, Birds Singing Other Birds' Songs, was first exhibited at the Medway Gallery in 2001. As is the case in Piringer’s app, the birds are composed of letter forms.
J. R. Carpenter - 25.04.2022 - 10:42
