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1. Radial City

   Processed video, collaboration between artist and poet.

   Scott Rettberg - 02.03.2011 - 22:25

2. The Inframergence

   The outer interface of this work is a spiral of buttons, each of which leads to an interactive screen. Beginning at the outside, the screens consist of overlaid polylinear skeins. Each skein has an “obverse,” which goes in the opposite direction. As the reader proceeds through the spiral to the center, nonlinearity emerges. The skeins become more concentrated and are then replaced by clusters; the clusters then clump together into structures, in which some elements are dominant over others; and eventually a full diagrammatic syntax appears, in which any element can be connected to any other using the full complexity available to networks.

   (Source: Jim Rosenberg in http://www.giarts.org/article/travels-contemporary-new-media-art)

   Patricia Tomaszek - 04.03.2011 - 22:19

3. about nothing, places, memories, and thoughts: robert creeley (1926-2005) and patricia tomaszek

   about nothing, places, memories, and thoughts: robert creeley (1926-2005) and patricia tomaszek in a cut and mixed poem-dialogue
   

   Patricia Tomaszek - 04.03.2011 - 22:24

4. Frequency

   Frequency is a poetry generator written in Ruby, and part of a larger constrained writing process. The lines of all the poems in Frequency are constrained by the fact that I used only 200 of the most common English words in them. The poems generated by Frequency are built from a pool of 2000 lines I wrote. The process of writing the lines was not aided by the machine and was painstaking work. I wrote a set of ten lines beginning with each word, only using the other words in this list in the rest of the line. It is perhaps not unsurprisingly difficult to make meaningful expressions with such a limited vocabulary, but in the end I was surprised by how flexible these base units of our language can be. The poetry generator itself runs from a command line interface, and can algorithmically assemble poems according to a number of different rhyme scheme, syllabic, and spatial criteria.

   Patricia Tomaszek - 04.03.2011 - 22:52

5. Digital Poetry: A Look at Generative, Visual, and Interconnected Possibilities in its First Four Decades

   Digital Poetry: A Look at Generative, Visual, and Interconnected Possibilities in its First Four Decades

   Chris Funkhouser - 09.03.2011 - 15:20

6. Accidental Meaning

   Interested in the breaking and production of meanings, the non-semantic the visual, the oral, the blank page, the engagement of the reader/user in theshifting from the linguistic to the visual and back. To represent the broken and the formations of new meanings, I create an aesthetic environment consisting of a blank page/screen, inviting the reader/user to click/touch the screen in order to generate words. The installation includes a microphone to invite the users to read aloud and share with other users the experience of performing the work through their oral participation. As the user explores and experiences the work by connecting the random words appearing in the screen and assembling definitions, the accidental position of words produce new relationships, and in doing so, an on going process of meanings, connections and narratives; of shifting from the semantic linguistic meaning to the visual, from the literal, the transparent to the abstract; and simultaneously creating a poetic space of juxtaposed words, layers, and visual textualities.
   

   Eric Dean Rasmussen - 10.03.2011 - 09:41

7. A Quick Buzz around the Universe of Electronic Poetry

   An introductory essay that offers readers new to electronic poetry a brief survey of the field as it was taking shape at the beginning of the new century. The essay provides a tentative definition of e-poetry and identifies various poets writing digital poetry along with links to their works.

   Eric Dean Rasmussen - 11.03.2011 - 13:03

8. l0ve0ne

   L0ve0ne (Eastgate Web Workshop) was first told as an additive social networked story, on the Interactive Conference on Arts Wire, beginning in the fall of 1994. Each lexia was posted as a separate entry on the conferencing system. Portions of L0ve0ne were ported in different forms in servers all over the country, including the Arts Conference on The WELL. The story integrates hacker culture, early Internet technologies, a German "road trip"; and a love story that continues in Malloy's The Roar of Destiny.  The first person is used, as it is in many of Malloy's other works, as a narrative device that not only effects the telling, in that it allows the writer to disclose the details of the main character's life in an intimate way, but also effects the reading, in that it situates the reader directly in the main character's life and environment.

   Eric Dean Rasmussen - 14.03.2011 - 11:37

9. Digital Poetics: The Making of E-Poetries

   In this revolutionary and highly original work, poet-scholar Glazier investigates the ways in which computer technology has influenced and transformed the writing and dissemination of poetry. In Digital Poetics, Loss Glazier argues that the increase in computer technology and accessibility, specifically the World Wide Web, has created a new and viable place for the writing and dissemination of poetry. Glazier's work not only introduces the reader to the current state of electronic writing but also outlines the historical and technical contexts out of which electronic poetry has emerged and demonstrates some of the possibilities of the new medium. Glazier examines three principal forms of electronic textuality: hypertext, visual/kinetic text, and works in programmable media. He considers avant-garde poetics and its relationship to the on-line age, the relationship between web "pages" and book technology, and the way in which certain kinds of web constructions are in and of themselves a type of writing. With convincing alacrity, Glazier argues that the materiality of electronic writing has changed the idea of writing itself.

   Eric Dean Rasmussen - 16.03.2011 - 12:55

10. Sea and Spar Between

    Sea and Spar Between is a poetry generator which defines a space of language populated by a number of stanzas comparable to the number of fish in the sea, around 225 trillion. Each stanza is indicated by two coordinates, as with latitude and longitude. The words in Sea and Spar Between come from Emily Dickinson’s poems and Herman Melville’s Moby Dick. Certain compound words (kennings) are assembled from words used frequently by one or both. Sea and Spar Between was composed using the basic digital technique of counting, which allows for the quantitative analysis of literary texts.

    (Source: Authors' abstract at Dear Navigator)

    Scott Rettberg - 16.03.2011 - 17:05

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