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1. Aesthetic Animism: Digital Poetry as Ontological Probe

   This thesis is about the poetic edge of language and technology. It inter-relates both computational creation and poetic reception by analysing typographic animation softwares and meditating (speculatively) on a future malleable language that possesses the quality of being (and is implicitly perceived as) alive. As such it is a composite document: a philosophical and practice-based exploration of how computers are transforming literature, an ontological meditation on life and language, and a contribution to software studies. Digital poetry introduces animation, dimensionality and metadata into literary discourse. This necessitates new terminology; an acronym for Textual Audio-Visual Interactivity is proposed: Tavit. Tavits (malleable digital text) are tactile and responsive in ways that emulate living entities. They can possess dimensionality, memory, flocking, kinematics, surface reflectivity, collision detection, and responsiveness to touch, etc…. Life-like tactile tavits involve information that is not only semantic or syntactic, but also audible, imagistic and interactive.

   Patricia Tomaszek - 16.03.2012 - 16:49

2. Electronic Poetry: Understanding Poetry in the Digital Environment

   This study has as its main research object the new forms of poetry based on informatics and it is located in the fields of critical theory, hermeneutics, semiotics of the text and digital culture.

   These new forms emerging from the meeting of poetry and informatics are collectively called Digital Poetry. Digital poetry – also referred to as E-poetry, short for electronic poetry – refers to a wide range of approaches to poetry that all have in common the prominent and crucial use of computers or digital technologies and other devices. Digital poetry does not concern itself with the digitalization of printed works, it relates to digital texts. This work studies only electronic poems created to be read on the computer accessible online. It offers the close-readings of 35 e-poems in 5 different languages (English, French, Italian, Portuguese, and Spanish).

   Eric Dean Rasmussen - 19.03.2012 - 08:16

3. From OULIPO to Transitoire Observable

   As an early programmer of digital poetry, theorist, active participant in various literary French movements, and co-founder of journals (alire) and groups (Transistoire Observable), Philippe Bootz outlines the gradual development of a coherent French aesthetic of digital poetry. His article circles around the paradigm of text generation and its different evolving movements which he describes and relates to each other in detail by giving account to the various actors, conditions, and conceptualizations behind the scenes of the communities he analyzes.

   (Source: Author's abstract, Dichtung Digital)

   Eric Dean Rasmussen - 23.03.2012 - 07:33

4. An Interview with Jason Nelson

   This interview appeared alongside three works by Jason Nelson in Cordite's Electronica issue, giving insight into Nelson's creative practices and digital poetry.

   Patricia Tomaszek - 04.05.2012 - 00:11

5. Digital Literature: Theoretical and Aesthetic Reflections

   The emergence of a new phenomenon – digital literature – within the field of
   literary studies calls for the reorganization and creation of new theoretical and
   analytical repertoires. As models of communication change, so do
   reception and production processes accompanying these changes. Within these
   altered scenarios, the dissertation Digital Literature: Theoretical and Aesthetic
   Reflections is a response to the aesthetic and theoretical challenges brought on by
   computer-based literature. As a methodological strategy, the dissertation articulates
   recent trends in the theory of digital aesthetics – remediation (BOLTER),
   eventilization (HAYLES), correlations of performativity, intermediality and
   interactivity with meaning-driven analysis (SIMANOWSKI), Medienumbrüche
   (GENDOLLA & SCHÄFER) – with theories of production of presence
   (GUMBRECHT), autopoietic communicative models (LUHMANN) and closereadings
   of digital works. By scripting a dialogue with key theorists from print
   literary theory as well as new media theorists and artists in the burgeoning field,

   Luciana Gattass - 08.05.2012 - 14:38

6. Carrying across Language and Code

   With reference to electronic literature translation projects in which we have been involved as translators or as authors of the source work, we argue that the process of translation can expose how language and computation interrelate in electronic literature.

   Eric Dean Rasmussen - 12.06.2012 - 16:36

7. Adventures in Transition: Jason Nelson’s Scary Journey from Flash to J-Code and Desk to Hand

   Perhaps the most disturbing and exciting periods of a digital poet’s creative practice is the transitional period between using one technology and learning another. For the past eight years I’ve been predominately a user of Adobe Flash. I say user, because in many ways
   the software is a drug, carving response and reward pathways into the cranium fibers. My creations have been the beneficiary of a tool ideal for multi-layered/dimensional and interactive artworks viewable on all major platforms. However, it is this platform issue and Adobe’s losing
   position in its battle with the Tyrant Apple that is quickly making Flash obsolete, unplayable in the fastest growing segment of electronic devices, tablets and phones. This very well might turn around and Flash might save itself. But suffice it to say, the net/portable creative ndustries have left Flash to fend for itself.
   (Source: Author's abstract, 2012 ELO Conference site)

   Eric Dean Rasmussen - 22.06.2012 - 16:59

8. New Directions in Digital Poetry: A Review

   New Directions in Digital Poetry: A Review

   Patricia Tomaszek - 12.07.2012 - 15:13

9. A poesia (im)possível do século XXI

   A poesia (im)possível do século XXI

   Luciana Gattass - 10.10.2012 - 16:49

10. Writing the Ephemeral […] and Re-Enchanting the Remnants: The Lability of the Digital Device in Literary Practice

    Whenever the program of a work is run by a computer, the digital device necessarily plays a role in its updating process: because of the operating systems, the software and the ever changing speed of computers, it may sometimes affect the author’s artistic project, or even make it unreadable on screen. Thus, authors lose control over the evolution of their work and the many updates it undergoes. Thus, the artist is given four options when dealing with the lability of the electronic device: (1) she demands the ‘right’context of reception for his work – a requirement which, over time, will be confronted with the impossibility to preserve obsolete machines, software and operating systems; (2) she ‘re-enchants’ the lability of the electronic device and ascribes a ‘technological sublime’ to it; (3) she simply ignores the lability of the digital device and creates at once, as if the digital framework was immutable; (4) she is fully aware of the instable environment in which his digital creation will be updated; he even considers the ephemeral and uncontrollable nature of his work as its fundamental aesthetic principle.

    Patricia Tomaszek - 12.12.2012 - 14:21

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