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1. Writing the World: Toward a Systems Approach to E-Writing

   Code – The Language of Our Time, new media poetics, and p0es1s. The Aesthetics of Digital Poetry, are three widely regarded collections dealing with e-writing and its code from a humanist perspective. As an indication of how emergent this field of study is, in the several essays and papers that treat computer program code in these works, almost no actual code is presented for analysis or as concrete examples of the abstractions that their authors discuss.

   This is altogether understandable. There was no aesthetic arc hovering over and guiding the transition from legacy print writing to e-writing. In fact there was virtually no transition. Ewriting was suddenly there (here). And its foundation, program code, was an immediate fact that few students of literature had been trained to understand. Before they could, a framework had to be built within which this new literature, whose tools of craft are so obscure and esoteric, could be reasoned about and judged. Program code problematizes literary study at its very essence—at the act of creation.

   Scott Rettberg - 30.01.2013 - 21:39

2. Digital Word in a Palm: Digital Poetry between Reading and immersive Bodily Experience

   Poetry’s traditional role as the lyric atmospheres and projective saying provider is fundamentally being challenged by information technologies that are able to create their own particular atmospheres, new ways of user related text organization, and novel generations of hybrid and artificial languages. Novel textual practices are emerging in which presentation, linear way of narrative, depths, and meaning are being replaced with liquid textscape, blog- based remixability, the multi-sensuous textscape experience and special effects (e.g. Amy Alexander’s VJ shows featuring text-based visuals generated live from Internet engines queries). Text is undergoing radical shifts in its nature addressing both the author and the reader; within a new media paradigm we are facing the digital verbal with the new properties, which allow people to write, read, communicate, learn, explore and create in novel ways.

   Scott Rettberg - 30.01.2013 - 21:52

3. Le(s) Mange Texte(s): Creative Cannibalism and Digital Poetry

   Digital poetry always involves mathematical concepts. Fusing together textual elements is an additive process, at very least. Combining files and presenting them via computer screens multiplies possibilities for poetry, and the sum, or sums, of the artistic equation are often worthy of the effort involved. Thus, what we factor into the equation, and how it is factored in, is important. Considering some of the successful works of digital poetry that appeared in the hypermedia journal Alire in France, and in other historical and contemporary works, I see a trait that emerges despite overt aesthetic differences and variant approaches in works produced that I wish to associate with a liberating and useful poetical concept that emerged in South America nearly a century ago.

   Scott Rettberg - 30.01.2013 - 22:08

4. Odyssée 3 min 50

   Le point de départ "d'Odyssée, 3mn50" est un film d'une traversée d'un pont d'une durée de 3mn50. A partir de ce point de départ l'espace cinématographique se déploie dans sa temporalité, offre des ouvertures. Ce film délivre bifurcations: il ouvre des cheminements vers une structure plus profonde, secrète, qui se révèle au spectateur.

   (Source: http://www.epoetry2007.net/)

   Marthin Frugaard - 11.04.2013 - 10:40

5. Ream

   A 500-page poem written in one day and printed on a ream of paper, which was adapted in a number of different analog and digital formats and translated into French.

   Marthin Frugaard - 11.04.2013 - 11:08

6. Grande Enquête

   This webpage has been realised for the festival e-poetry 2007 in collaboration with Delphine Riss. During the festival, the participants were invited to vote at the following question:

   Selon vous, les travaux présentés lors du festival e-poetry 2007 (performances, installations, oeuvres) sont ils des oeuvres de poésie numérique?

   According to you, are the works presented at the e-poetry 2007 festival (performances, installations, piece of works) digital art works of poetry?

   Participants were also invited to add precisions in creating their own buttons where their comments were written on them. Other users could then add weights to these buttons by clicking on them.

   The goal of this project was to materialise the difficulty of defining what is digital art poetry and how it is received. While presenting the problem of the definition, the task was too not be closed up in only one: The different requests, potentially infinite, allowed to visualise a state of the reception of the digital poetry, skewed by our intervention.

   (Source: http://cecilebucher.net/e-poetry/)

   Marthin Frugaard - 11.04.2013 - 11:23

7. Portuguese Experimental Poetry: Revisited and Recreated

   Portuguese Experimental Poetry, claiming to be an avant-garde movement, arose in Lisbon in the mid 60’s. It got its name from the title of a magazine, Cadernos de Poesia Experimental, which became the herald of the movement. Two issues were published, the first in 1964 and the second in 1966, organized by António Aragão and Herberto Hélder. The first issue was presented as anthological, since it included texts not only of Portuguese poets and musicians but also Brazilian, French, Italian and English artists. It also had a section which included poets of several epochs and tendencies, such as Luis de Camões or Quirinus Kuhlmann, representing respectively the mannerist and baroque aesthetics of European poetry.

   (Source: Author's Introduction)

   Alvaro Seica - 02.12.2013 - 15:14

8. Digital Ream

   Digital Ream is a Web edition of the poem Ream, by Nick Montfort. Ream was originally written for print and paper.

   1. Ream is a 500 page poem.
   2. The writing of Ream was entirely imagined and executed on one day: April 5, 2006.
   3. On each page of Ream a single, one-syllable word appears, centered, in ordinary, 14-point type.
   4. Page numbers do not appear on any of the pages and are unnecessary, since the words are in alphabetical order.
   5. Pages 1-51 recapitulate Poe's "The Raven."
   6. The sexy part starts shortly after page 230.
   7. Ream can be read aloud in 12 minutes.

   The first public reading of Ream was on April 26, 2006 at Speakeasy, a student-run open mic at the Kelly Writers House in Philadelphia.

   (Source: http://nickm.com/poems/ream/about.html)

   Alvaro Seica - 25.09.2017 - 15:17

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