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Digital Poetics or On the Evolution of Experimental Media Poetry
The academic and literature critical discussion on new media poetry or about digital texts swings to and fro, in method and conception between two poles: one is the 'work immanent' approach of structure description and classification, and the other the deduction of abstract media esthetics. At a tangent to this the communication on media, culture and media art has been more or less committed to the priority of technological reasoning since the nineties at the latest. The concern with technology remains a dilemma: Technology has to be taken into account when dealing with concrete structure analyses of works of digital poetry, but some traps lie in wait. Is the knowledge accounted for here really sufficient? I would say that few of those taking part in the discussion who do not actually work in the specific area artistically are capable of programming digital texts (the same may be said of some artists). Another problem is something I have casually termed a new techno-ontology: a ‘cold fascination’ for technological being (also of texts), which flares up briefly with each innovation pressing for the market in the respective field.
Patricia Tomaszek - 14.09.2010 - 14:16
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Anna Katharina Schaffner
Before taking up a post in Comparative Literature at Kent in 2007, Schaffner studied General and Comparative Literature and English and American Studies in Berlin. She completed both her MSc and her PhD on avant-garde literature at the University of Edinburgh. During and after her PhD studies, she worked first as research assistant and then as Post-Doctoral Researcher in an AHRC-funded project on the European Avant-Garde in art, literature and film.
Anna Katharina Schaffner has published a monograph on language dissection in avant-garde, concrete and digital poetry, as well as a range of articles on Dada, post-war concrete and contemporary digital experimental poetry.
Patricia Tomaszek - 14.09.2010 - 14:34
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From Concrete to Digital: The Reconceptualization of Poetic Space
It has almost become self-evident in the critical discourse on digital poetry to assess digital poetry as a continuation of an experimental tradition with its origins in the historical and the neo-avant-garde. Critics such as Friedrich W. Block and Roberto Simanowski in particular read contemporary digital poetry explicitly as extension and continuation of concerns of the avant-garde and concrete poets.
Block points out that almost all vital concerns of digital poetry can be traced back to its historical predecessors. He names the reflection upon the concrete language material, the transgression of genre boundaries, multilinearity and the exploration of spatial structures, movement and interactivity as key strategies which are vital concepts in historical avant-garde, concrete and digital poetry. Digital poetry is frequently, and I believe correctly, assigned to the wider trajectory of experimental/avant-garde poetry in many other studies as well. It is often considered as a third stage, contemporary continuation and further development of earlier experiments.
Patricia Tomaszek - 14.09.2010 - 14:43
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John Cayley
John Cayley practices digital language arts, and has been a poet, translator, publisher, and bookdealer. Links to his writing in networked and programmable media are at http://programmatology.shadoof.net. Recent and ongoing projects include imposition, riverIsland, what we will, and The Readers Project (http://thereadersproject.org). His last printed book of poems, adaptations and translations was Ink Bamboo (Agenda & Belew, 1996). Cayley was the winner of the Electronic Literature Organization's Award for Poetry 2001 (http://eliterature.org). He has taught or been associated with a number of universities in the United Kingdom, including the Performance Writing degree at Dartington College of Arts and the Department of English, Royal Holloway College, University of London, where he was an Honorary Research Associate.
Eric Dean Rasmussen - 14.09.2010 - 17:05
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Dichtung Digital
Journal on digital aesthetics, edited by Roberto Simanowski. Dichtung Digital features articles by artists as well as scholars on digital literature and art. It was founded in 1999 and ran to 36 issues by the year 2007, with ten contributions per issue. The journal contents can be gleaned by browsing the newsletters (one per issue) and abstracts for each contribution, and there is also an comprehensive index of contributions and contributors.
Patricia Tomaszek - 14.09.2010 - 17:32
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Cybertext Yearbook
Founded as an academic print publication by Markku Eskelinen and Raine Koskimaa in 2000, the Cybertext Yearbook has been freely available online in PDF since 2007. Since 2003 the volumes have been mainly theme based. Despite the name the volumes do not necessarily appear annually. (Note: Individual volumes of Cybertext Yearbook are listed as book collections in the ELMCIP Knowledge Base).
The Cybertext Yearbook -julkaisusarja käynnistyi vuonna 2000. Vuodesta 2003 lähtien yksittäiset numerot ovat keskittyneet tiettyyn teemaan. Päätoimittajina toimivat Markku Eskelinen ja Raine Koskimaa. Teemanumeroilla on usein myös vieraileva toimittaja. Nimestään huolimatta julkaisuja ei välttämättä ilmesty vuosittain.
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Patricia Tomaszek - 14.09.2010 - 17:39
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Mariusz Pisarski
Founder and editor of Techsty - the only journal in Poland devoted exclusively to electronic literature (since 2002). Consultant and producer of several Polish e-lit works, translator of hypertext fictions by Judy Malloy, Stuart Moulthrop and Mark Amerika. Promotes electronic literature in popular press, literary circles and on the academic field. His PhD on hypertext (final stages) is an effort to bound the roots of contemporary poetics with medium specific qualities of network environments. In other words: "Roman Jakobson meets Espen Aarseth". The task in question is still much needed, after over simplifications of the nineties hypertext debate.
Patricia Tomaszek - 14.09.2010 - 17:59
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Brian Kim Stefans
B.A., Literature, Bard College, 1992; M.F.A., Electronic Literature, Brown University, 2006.
Assistant Professor at the Department of English at the University of California, Los Angeles (UCLA). His research interests include creating a "bridge" between the concepts and traditions of various 20th-century avant-gardes -- Language writing, the Oulipo, concrete poetry, conceptual art, Situationism, metafiction, etc. -- and various genres of digital literature, including animated poems, interactive texts, algorithmically-generated and manipulated texts, "nomadic" writing, hacktivism and experimental blogs. Presently working on a series of wall projections called "Scriptors" which will appear as gallery and environmental installations in the coming years.
Patricia Tomaszek - 16.09.2010 - 16:47
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The Dreamlife of Letters
A Flash animation, based on a text by Rachel Blau DuPlessis, that attempts to explore the ground between classic concrete poetry, avant-garde feminist practice, and "ambient" poetics (that's really just plain fun to watch).
(Source: Author's Description from ELC Vol. 1)
Patricia Tomaszek - 16.09.2010 - 16:54
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Talan Memmott
Talan Memmott is a hypermedia writer/artist, his hypermedia work is generally Web-based and freely accessible on the Internet. Memmott has taught digital art, electronic writing, and new media studies in the Digital Culture and Communication Program at the Blekinge Institute of Technology in Karlskrona, Sweden, the Teledramatic Arts and Technology Department at California State University Monterey Bay; the Georgia Institute of Technology, University of Colorado Boulder, and the Rhode Island School of Design. He is currently a researcher at University of Bergen. Memmott holds an MFA in Literary Arts/Electronic Writing from Brown University and a PhD in Interaction Design from Malmö University. Memmott was a co-editor for the Electronic Literature Collection, Volume 2 (ELO), and the ELMCIP Anthology of European Electronic Literature.
Patricia Tomaszek - 16.09.2010 - 17:06
