Digital Poetry

This article studies the digital poetry work POETuitéame by Mexican authors Karen Villeda and Denise Audirac using the theories of conceptual art and non-creative writings by Kenneth Goldsmith, as well as the concepts of appropriation and the semionautic re-semantization by Nicolas Bourriaud. To do this, the article first establishes the panorama of digital poetry from the point of view of its reception, culminating in the emergence of tweetpoetry as a sample of the poetic writings in social networks. This tweetpoetry foundation is essential for the final execution of Villeda and Audirac’s work. Secondly, the theories of Goldsmith and Bourriaud are addressed as a main axis to finally address the study of POETuitéame and its non-creative and semionautic implications as a conceptual execution of 2.0 writing.

Instagramdichters hebben sinds een paar jaar wereldwijd een immense invloed op de poëzieboekenmarkt. Ook heeft het nieuwe genre een impact op de vorm en inhoud, het publiek en de status van poëzie. Uit een nationale enquête blijkt dat het tegenkomen van poëzie op social media de poëzie-ervaring is die Nederlandse volwassenen het frequentst ervaren. Uit een Instapoëzie-enquête blijkt daarnaast dat Instapoëziegebruikers vooral hoogopgeleide, jonge, vrouwelijke veellezers zijn en dat Instagram een snelle, toegankelijke en gratis manier is om nieuwe poëzie te leren kennen, die bovendien makkelijk in te passen is in het dagelijks leven. Op het gebied van leesbevordering heeft Instapoëzie potentie, omdat de gedich-ten veel nieuwe, jonge, literaire lezers voortbrengen, zowel digitaal als op papier. Over de concrete uitwerking van Instapoëzie als 'instappoëzie' op de Nederlandse en Vlaamse poëzieboekenmarkt is helaas weinig bekend. Wel heeft Amerikaans en Brits onderzoek aangetoond dat Instadichters hebben gezorgd voor een gloed-nieuwe groep jongvolwassen poëziebundelkopers.

A book with participation of:

Lucia Santaella (Forewords)
Ana Tereza Brandão
Carlos Augusto M. da Nóbrega
Carlos Henrique Paulino
Carlos Henrique Rezende Falci
Casey Reas
Cátia Rodrigues Barbosa
Celina Figueiredo Lage
Débora Aita Gasparetto
Francisco Carlos de Carvalho Marinho
Helena Barranha
Ítalo Travenzoli
Izabela Marcolino Carvalho Costa
João Victor Boechat Gomide
José Ricardo da Costa Miranda Júnior
Jussi Parikka
Lynn Alves
​Lucia Dossin
Marcelo Franco Porto Margreet Riphagen
Maria Luiza P. G. Fragoso
Marinah R. C. Ribeiro
Miriam Rasch
Nara Cristina Santos
Pablo Gobira
Regina Mota
Renata Maria Abrantes Baracho
Rogério Barbosa da Silva
Suzete Venturelli
​Tadeus Mucelli
Tânia Fraga
Tatiana Paz
Tulio Ottoni

"(...) There are at least two meanings in which post-digital can be understood.
First, considering the prefix "post" in its temporal meaning, "after", post-digital would be referring to everything that came after the expanding and refined installation of computational algorithms in all human activities. It is a neutral, strictly chronological sense. But there is also a critical sense: it is necessary to go through its gains and losses. This is what is meant by  "post-digital". Gone are the days of euphoria, by the way, accompanied by dysphoria that in its extremes nostalgically announced the apocalypse. Fortunately, a time of exceeding thoughts concerning the digital has gone. Now is time to face its ambivalences, paradoxes and contradictions. This is precisely what has been called "post-digital".
The book contains a myriad of perspectives, fine prismatic subdivisions of the technological art in its digital features with specific details of the production that makes use of new generation devices and resources, such as kinect cameras,multi interactive media, cyber interventions, mixed and augmented reality, three-dimensional modeling, programmable environments, complex algorithms, neural helmets, etc. On the other hand, the book is punctuated with theoretical and critical essays in which the new conditions of the museum, artists’ books, hybrid arts, authorship, digital art festival, digital cinematography and last but not least, geophysical materiality and geochemistry of the media are rethought and faced in the light of the most current challenges."
- from preface by Lucia Santaella.

This book’s inquiry into contemporary poetry takes two directions. The first direction leads to several close examinations of digital, multi-modal and performative poetry, and how perspectives or perhaps just an awareness of a new media landscape recondition our understanding of an old literary genre. The second direction expands into considerations of contextual theories of affect and atmosphere, to materiality studies and towards the heterogenic field of politics, for example feminism, minority studies, digital and environmental humanities or cosmopolitanism.
Hence, the question the articles in this volume pose is whether this match of mediatization and new sensibilities can be seen as a major novel development in the history of poetry. With the title Dialogues on Poetry we wish to signal that the answer to this question can only be pursued through the ongoing process involved in defining, discussing and describing how poetry responds to the substantial changes of our media-saturated circumstances and environments.

Electronic literature has expanded its limits, going beyond issues of defi nition, genre, and poetics, and developing into something more than literature. The goal of this paper is to address problems related to the discussion and meaning of electronic literature, something that elides a precise defi nition and clear-cut boundaries. Pawlicka's article is based on the conviction that electronic literature has developed from a fi eld that was institutionalized by the Electronic Literature Organization into a set of practices. The fi rst part refl ects upon changes in electronic literature, changes that compel researchers towards new considerations. This section refers to questions posed by N. Katherine Hayles and Dene Grigar and leads to a vital question, " Electronic Literature: How Is It? ". The question of " how " suggests a shift towards the idea of process; a fresh perspective is implied, one that is related to notions of action, practice, and application. This paper therefore introduces an innovative approach to researching electronic literature, namely a processual approach that is open to changes, revisions, and explorations. It in turn goes far beyond seeing electronic literature as simply a narrow fi eld of literature within digital culture. Instead of that, it off ers a new perspective on electronic literature, which is considered as a platform for digital research, textu-ality, art, and other forms of expression. These ideas are covered in the last part, which presents electronic literature as a platform for textual, artistic, and technological experiments, undertaken by writers, artists, designers, and programmers. This incorporates digital creative writing and creative programming, as well as trans/interdisciplinary research.

A common feature of a group of net projects by Talan Memmott is the combination of dynamic screen presentations interlacing textual and image ciphers with each other. Among this group "Lexia to Perplexia" (2000) is an outstanding work. Memmott combines parts of codes as f.e. punctuation marks and neologisms to a hyperfiction programed with DHTML and Javascript. Readers can explore the presentation modes of the ten source codes resp. chapters. The combinations of texts and images reflect relations between users (as "remote bodies"), their screens and networks. The article explains relations between the parts of the work and proposes an interpretation of the ciphers. Unfortunately, contemporary browsers can not present "Lexia to Perplexia".

Los clickable poem@s están compuestos por poemas que vinculan la palabra escrita y lo audiovisual. Son alrededor de veintitrés poemas, entre los que encontramos: iDA —en un i-mode slightly tántrico, Clea´s tattoos -a poem shared t/ facebook y the link—. Estos poemas juegan con la idea de que el lector debe «completar» el poema, al invitarlo a abrir enlaces, principalmente videos en Youtube.

The paper focuses on the mobile applications created for
tablets that could be assigned significant literary values. It studies
a variety of literary applications and proposes their categorization:
interactive stories applications oriented at children (remediated or
digital born), applications supporting creative writing, applications
remediating print literary works, applications on multiple digital
platforms, interactive narrative applications, interactive poetic applications.
For each of the categories, several examples are introduced
and analyzed. The main focus is on those applications that
use the touch gesture in an innovative and semantically meaningful way and thus support users’ interactivity, creativity and playful potential.

La incorporación de la llamada generación millenial al ámbito de la literatura en general y de la poesía en particular, ha provocado un cambio en los modos de producción y recepción del poema. Los jóvenes utilizan ahora las herramientas digitales como algo inherente a su cotidianeidad, como la fórmula para intercomunicarse con el mundo (la amistad en ese entorno virtual se mide ahora en número de seguidores o de likes), especialmente en contextos no formales que al final son los que sustancian el día a día. Y con esos parámetros miran también la literatura. Las estructuras de difusión de la poesía han sufrido una evolución tan rápida y tan ágil hacia este camino de lo digital que ha pillado desprevenidos tanto al lector tradicional como a los autores que responden a parámetros canónicos.

This study concentrates on reading digital poetry. Reading entails the act of reading, strategies of analysis, and the means of understanding. Specifically, this study constructs a model of reading and interpreting poetry in digital form by close analysis of three complex case studies. Broadly, this study concerns the aesthetic means and meanings of poetry in the contemporary moment, where new and old media are in visible negotiation with each other. In digital poetry artistic expression, digital media, technology and cultural practices clash and combine to produce new poetic forms.
With new forms of poetry come new challenges to reading, analysis, and interpretation. Digital poetry presents new material, literary, technical, and rhetorical strategies and techniques that offer novel possibilities – and restrictions – for reading. Thus, my broad question is: How do we read digital poetry? This broad question is broken down to a subset of research questions. These deal with the material medium, readerly action, and the processes of the poem, which are all to be seen as constituent of its effects and meanings.
In answering these questions, I construct a new model for reading digital poetry. The model is distilled from my close readings of the case studies. The readings are literary, cultural, media-historical and media-specific. The background methodology for the investigation comes from the notion of close reading (sensu Culler 2010; Simanowski 2011; Pressman 2014).
My reading model consists of three main elements: interface, interaction, and interpretation. I further divide the interface into elements of data (e.g. text, music, images), processes (e.g. temporal control, text generation), and medium (as material and conceptual). Interaction consists of logic, performance, and effect, which designate the mode of engagement with the work, the joint performance of the poem and the reader, and the effects these produce. Interpretation includes the articulation of effects and meanings. Whereas the effects are created in interaction with the work, articulating them is seen as part of interpretation. Interpretation includes the articulation of the meanings and connections the poem invites. In other words, the poem’s interface guides the concrete act of reading, interaction guides the reader’s mode of engagement with the interface, and interpretation guides the means of understanding what is read. Each element of the model can give rise to both synchronic and diachronic approaches.
The case studies renegotiate the interrelated and overlapping arenas of print and digital poetry, old and new media, and traditional and digital literary criticism. The first includes Cia Rinne’s zaroum (2001), archives zaroum (2008; with Christian Yde Frostholm) and notes for soloists (2009). The second is Young-Hae Chang Heavy Industries’ Dakota (2002). And the third is Stephanie Strickland’s “V-project”, which includes two print books (V:WaveSon.nets /Losing L’Una 2002; V: WaveTercets /Losing L’Una 2014) two web applications (V:Vniverse Shockwave application 2002 with Cynthia Lawson-Jaramillo; Errand Upon Which We Came 2001; with M. D. Coverley), and an iPad application (Vniverse 2014; with Ian Hatcher).
The emphasis in the case studies is on examining strategies of reading and interpretation as well as producing new readings and interpretations of the poetry in question. I investigate the interdependence of traditional print-based and emerging digital strategies of reading poetry, and combine print-based scholarly approaches with digital-based scholarship. Digital media has penetrated all levels of society from everyday practices of work, politics, and communication to art, research, and even love. This has pushed poetry, reading, and literary scholarship into a dynamic state of change. I argue that this push makes it both pressing and productive to pinpoint the elements of change at play in our contemporary situation, and investigate how they show in their overt and covert forms. Digital poetry, an avant-garde literary art form, is the site where this change is most apparent.

This article was the Introduction to an issue of MIT Press' peer-reviewed journal Leonardo Electronic Almanac that I guest-edited in 2006. The topic of the issue was "New Media Poetry and Poetics" and this was one of the earliest collections of writing on the topic that attempted to read New Media poems. The original abstract read: "Poetry has entered the digital realm, and has been changed by the experience. No longer static texts on a page, contemporary poetry has undergone some intense rewiring at the hidden levels of pixel and sub-text machinery. In the new media environment, we deal with an expanded notion of "poem" as praxis of surface level and sub-textual computer code levels, and an expanded awareness of the digital poem as process. The reading and reception of this writing occurs in a networked context, in which the reader becomes an "ergodic" participant (to use Espen Aarseth's term) and helps shape the form of the new media poem."

This article emerges from macroanalysis of several works of critical writing in the field of digital poetry, which have been documented in the ELMCIP Knowledge Base. The problems addressed in this context are the self-referentiality exhibited by authors who are both practitioners and theoreticians, and the need for a wider selection of digital poems in critical discourse. The dataset consists of monographs and Ph.D. dissertations on digital poetry (1995-2015), which have been exported into visualization software. Macro and network analyses enable new debate concerning the outlined problems and new findings. My findings suggest that criticism in this domain is chiefly endogenous and that a limited number of poems is being canonized. Therefore, a meta-discourse perspective can pave the way for an external view of the field, concerning its epistemology and evolution. The dataset is available online for download and can be tested and reconsidered by other researchers.

In moving texts, such as digital kinetic poetry, the reader-user might no longer control the duration of their reading, unlike the traditional and static nature of printed texts. The user deals with readable time versus executable time, the human time-line versus
the machine time-line. By having an imposed and fixed number of milliseconds to perceive the text on the screen, the user might find themselves completing or imagining the unread text, following the dynamic forms with an imposed dynamic content. Yet, to understand the shifting reading patterns of digital poems, one has
to consider another methods or tools that may complement traditional models. Therefore, performing a critical approach solely based in close reading methods might not accomplish a fully comprehensible reading of digital poetry. In this sense, following
upon methods taken from other areas, e.g. time-lapse photography and R. Luke DuBois’s concept of “time-lapse phonography” (2011), I introduce the notion of time-lapse reading as a complementary layer in order to close read disruptions in reading processes that demand a set ‘experiencing’ time when letters, words, lines or stanzas are replaced, with a case study on Philippe Castellin’s "çacocophonie" (2013).

Since the 1990s, ecocriticism has influenced the ways we study literature, but fractures remain. While there has been some preliminary ecocritical work on what can be called experimental ecopoetry and ecopoetics, so far the most radical writing forms remain insufficiently debated and researched. In particular, what requires much more investigation is how radical experimental writing contributes to our understanding of the act of impure translation that all ecopoetic endeavour inevitably constitutes.

This thesis explores the dispositions of digital poetry and moving images. The origin of poetry has an important role also in the digital era, to be a living archive of memory and the tool for storytellers rather than being only aesthetic or technical matter.

In this artistic practice digital poetry is experimented in various ways: by video letters sent through the internet, found poetry with post-VR vibes, immersive interactive way and as media archaeological whispering.

We take a closer look at how digital poetry and slow media could help us uncover the process, stay on an unstable ground in-between disciplines, mediums, analog and digital, past and future, genders, ages and becomings.

La numérisation de la poésie livresque en poésie visuelle donne un autre regard esthétique et herméneutique à la poésie contemporaine. Cet effet a mis au monde un nouveau sousgenre de la cyberlittérature en général. La présente étude se penche sur l’analyse textuelle et pictographique du poème visuel, « C’est tout bon ! »deCorinne Albaut dans le seul but de montrer des relations métalinguistiques entre les textes ainsi que ses représentations pictographiques. Nous nous basons sur la théorie de poésie numérique de Vincent Foucaud et Bachleitner Norbert et sur la méthode de la lecture de loin, la lecture rapprochée et
symbolique afin de faire ressortir l’interprétation valable de cet e-poème mondial.
Mots Clés : cyberlittérature, poésie numérique, cyberpoésie, poème visuel, e-poème, métalinguistique.

Digitization of book-poetry into visual poetry gives another aesthetic and hermeneutic outlook to the contemporary poetry. Such an artistic innovation has generally given birth to a new subgenre in the cyberliterature. Our study is concerned with the textual and pictographic analysis of Corinne Albaut’s visual poem called “C’est tout bon!” enabling us to show the metalinguistic relationships between Albaut’s texts and her pictographic representations. We shall use Vincent Foucaud’s and Bachleitner Norbert’s digital poetry
theory, combined with distance reading, a symbolic close reading in order to give a valid interpretation of this global e-poem.
Keywords: Cyberliterature, digital poetry, cyberpoetry, visual poetry, e-poem,
metalinguistics.

El presente trabajo trata sobre la influencia de Internet en el aforismo contemporáneo de habla hispana, preguntándose de qué manera las características de este suponen una adecuación con los medios digitales. Plantea la cuestión en términos de calidad artística y folclórica de las formas breves en la Red y de sus grados de interactividad e intermedialidad, refiriéndose tanto a microtextos de autores consagrados en el género como a creaciones breves de escritores o usuarios poco conocidos o, simplemente, desconocidos. Como se mostrará, las manifestaciones del aforismo en Internet dan un ejemplo de cómo la digitalización contribuye a deconstruir el concepto occidental moderno de literatura, no solo fragmentando, pluralizando y democratizando la autoría, sino también acercando lo culto a lo popular y la escritura a la tradición oral.

The article deals with the influence of the internet on contemporary aphorism in the Spanish language by asking how the characteristics of this genre show its adaptation to digital media. Based on micro texts created by both amateurs and known writers or users it answers this question in terms of the artistic and folk quality of short forms on the internet as well as their degree of interactivity and intermediality. As we will see, manifestations of aphorism on the web give an example of how digitalization contributes to deconstruct the modern Western concept of literature. This is not only done by fragmenting, pluralizing and democratizing authorship but also by connecting learned to popular culture and written to oral forms.

Best American Experimental Writing is an anthology series focused on dynamic literature from both emerging and established writers. The most recent edition, BAX 2015, was released in January of this year by Wesleyan University Press, and includes work from writers Nick Montfort and Joseph Mosconi that involves technicolor palates and Python programming. They (virtually) sat down with BAX managing editor Michael Martin Shea to discuss critical intimacy, display technologies, online corporate prisons, and the Burger King font.

Passeggiando anni fa in un parco di Berlino, Nanni Balestrini racconta di essersi ritrovato casualmente tra le mani il messaggio sgrammaticato che un bambino aveva affidato a un palloncino arancione: «Chi legge cuì non avrà mai più paura» (Wer das hir liest braucht sich vor nichts mehr zu fürchten). La poetica serendipità di questo ritrovamento ha fatto sì che la frase diventasse il titolo di una bellissima serie di collage di piccole dimensioni e, in seguito, quello di una importante retrospettiva della sua opera presentata lo scorso anno in Germania allo ZKM Center for Art and Media di Karlsruhe. 1 È impossibile non vedere in questa idea della lettura come rimedio alla paura anche una sorta di sintesi estrema della mai innocente e spesso sadica terapia d'urto cui da quasi sessant'anni Balestrini sottopone i suoi lettori, attraverso radicali sperimentazioni poetiche, che provocano e intimoriscono anche per la commistione di leggerezza e violenza. Come ha notato di recente Franco Berardi (Bifo), scrivendo l'introduzione alla traduzione inglese di Blackout, è proprio in una spiazzante duplicità che si ritrova la cifra della poetica balestriniana: «questa doppia dimensione è il tratto distintivo della poetica di Balestrini: for-1 -Wer das hir liest braucht sich vor nichts mehr zu fürchten, a cura di Margit Rosen, ZKM, Karlsruhe, 1 Aprile -2 Luglio 2017.

El 27 de septiembre de 2007, los habitantes de Sevilla, España, tuvieron la oportunidad de contactar con la obra de tres artistas brasileños emigrantes que viven en Europa. Los espectáculos se situaban entre la danza, música, artes visuales y poesía, presentando una mirada extranjera con un lenguaje múltiple y contemporáneo. Los espacios abiertos de la Universidad Internacional de Andalucía en el Monasterio de
la Cartuja se transformaron en el escenario para este experimento de la diversidad, del ejercicio de sobrepasar los límites entre las artes y la vivencia de la pluralidad del diálogo intercultural.

This dissertation aims at comprehending interactivity in the digital work of art, through the perspective of Maurice Merleau-Ponty’s phenomenology. For such, I combine a general objective – that of mapping mechanisms and strategies of interactivity in digital poetry – and a specific objective – that of reading Rui Torres’ work Amor de Clarice – with the intention of better understanding both through their constant dialogue, on how they intercross, as to finally comprehend the process of interaction in digital work of art. For this purpose I return to poems from the Iberian and Brazilian Baroque, Portuguese Experimentalism and French OuLiPo; being these, printed creations in which material construction and medium (physical support) are held as signifying elements of the work, as parts of the construction of meaning, which proposes to the reader a program to be understood for and in the act of reading, in which the procedural aspect of writing and reading become evident. To show how this occurs I utilized texts from writer-critics such as Ana Hatherly, Italo Calvino, Georges Perec, and Raymond Queneau, in whose works one may perceive this procedural aspect. In the final stage, I return to the digital medium and its techniques to examine, through phenomenology, the proximity between creation and interaction as expressive acts in the world, as the encountering of horizons, as acts that solicit us to inhabit the medium, allowing us to bring objects to our bodies and allowing them to participate in our being in the world.

Literary event and discussion with the authors Hannes Bajohr, Daniel Falb, and Mara Genschel (Literarisches Colloquium Berlin, 17 Dec. 2018). Introduction and moderation: Jutta Müller-Tamm, Simon Schleusener.
Announcement (in German):
Wie verhält sich die Kunst zur Kritik? Ist es zwangsläufig so, dass zwischen den zwei Bereichen eine Kluft besteht? Oder existieren Anschlüsse und Übergänge, die zwischen Kunstproduktion und -reflexion, Literatur und Wissenschaft, Poesie und Poetologie vermitteln? Diese und ähnliche Fragen stehen im Fokus des Abends, an dem die Lyriker*innen Hannes Bajohr, Daniel Falb und Mara Genschel Teile ihres Werks präsentieren und über ihre literarische Praxis Auskunft geben. In den Arbeiten der drei Autor*innen wird Lyrik nicht als formvollendete, hermetische Geheimsprache begriffen, sondern als offenes Laboratorium, das die Rezipierenden experimentell und diagnostisch in die Diskrepanzen der Gegenwart verwickelt und sie dazu zwingt, über die Produktionsbedingungen literarischer Texte nachzudenken.
https://www.geisteswissenschaften.fu-berlin.de/friedrichschlegel/assoziierte_projekte/Philologisches-Laboratorium/Veranstaltungsreihe-Stimmen-der-Kritik/index.html

Connecticut College professor Charles O. Hartman is a poet and musician who has also authored an important critical study, Virtual Muse: Experiments in Computer Poetry (Wesleyan, 1996), which focuses on connections between poetry and computing. PyProse, his sentence-generation software (for Mac OS X and Windows, 2006), is amongst the finest syntactical programs yet created; he has also produced Open Source metric scansion software named the Scandroid (both are available at http://oak.conncoll.edu/cohar/Programs.htm). At the time of this conversation, Chris Funkhouser was using PyProse as part of a social media writing project (virtually buried at https://twitter.com/ctfunkhouser), which is partly encapsulated in Back Up State, a poem that will appear in the forthcoming volume, IN|FILTRATION: An Anthology of Innovative Poetry from the Hudson River Valley (Station Hill). [Note: an e-book edition of Back Up State is posted on academia.edu as an appendix to this conversation].

Aprile | Computer poems. Dall'archeologia al source code poetry Computer poems. Dall'archeologia al source code poetry by Francesco Aprile La corrispondenza fra letteratura ed evoluzione tecnologica è intrinseca al concetto stesso di letteratura, se non altro perché i media connotano il contesto storico. Dall'alba delle prime pitture rupestri ad oggi, il ritmo letterario è scandito dalle evoluzioni sociali e tecniche che affollano la storia dell'uomo. Scopo di questo breve excursus è indagare le dinamiche di quella pratica ascrivibile sotto il nome di source code poetry, passando anche in rassegna una serie di eventi che pur non rappresentando tale esperienza contribuiscono a rendere sempre più contigua l'operazione autorale all'uso del computer, dalla scrittura praticata nell'alveo di vincoli stringenti di tipo matematico all'interno dell'OULIPO, alle composizioni algoritmiche di Jackson Mc Low alle opere permutazionali di Gysin, no alla sempre più massiccia presenza del personal computer come mezzo di composizione o generazione di testi. Il source code poetry è dunque accostabile attraverso un percorso storico che attraversa il '900 nella corrispondenza fra scienza e letteratura. Quali possibilità per la poesia digitale? Quale dimensione per la creazione computerizzata? Christopher Funkhouser, autore di Prehistoric Digital Poetry: An Archaeology of Forms 1959-1995, sembra esporre delle perplessità riguardo le potenzialità creative della macchina. È possibile una poesia digitale? Il responso di Funkhouser sembra indirizzato verso un "no" a partire dal fatto che l'operazione del pc resterebbe sempre quella di un output. La posizione dell'autore di una archeologia delle forme, seppur vera da un certo punto di vista, lascia spazio ad ampi margini. È la struttura parziale della visione a lasciare il campo aperto. Poesia digitale è in fondo un punto di vista personale U T S A N G A MENU

Článek mapuje české pokusy o elektronickou literaturu a hledá odpověď na otázku, proč je zastoupení tohoto typu literárních experimentů v české literatuře tak nízké. / This article charts Czech efforts to produce electronic literature and seeks an answer to the question why this type of literary experiment in Czech literature is so poorly represented.

This paper examines the influence of the digital revolution on poetic expression. The outcome of this influence is an electronic form of poetry that displays a variety of approaches to poetry with a significant and central use of computers and internet. The rationality of this paper is attained through the understanding of the influence of informatics on the making of meaning and the ability of the artificial intelligence in producing and composing authentic verses in the digital sphere. Therefore, this allows for the acceptance of the ePoem as a new poetic genre that has influences on poetic expression.

Wide concept covering a large variety of poetry experiments, from animated poetry to computer-generated poetry, digital poetry, as part of the heterogeneous electronic literature, offers new approaches based on the multicursal labyrinthic construction of the literary text. This segment of ergodic literature determined a shift of focus from the binomial author-text to a more complex „textual machineryˮ. Thus, as the author is gradually replaced by a computer program and as the reader is replaced by a reader-user, the need to reexamine the act of writing and reading poetry emerges. Therefore, the present study analyses the manner in which the human component manifests in the field of digital poetry.

This diploma thesis explores subjectivity in the domain of so-called digital writing, that is, in texts of largely experimental nature generated by computer algorithms (or with their assistance). In order to do so, the thesis briefly covers the history of digital writing, its mediatic specificities, poetics as well as various theoretical and philosophical conceptualizations. Most importantly, it undertakes an analysis of a post-lyrical subject, a concept devised by Janez Strehovec, that is common to all cases of generative writing under focus. For its comparative analysis, the thesis deals with the recent works from contemporary creators who approach algorithmic textuality from variegated perspectives, incl. Nick Montfort, Allison Parish, Stephanie Strickland, Li Zilles, and Jörg Piringer. Texts generated by programs are conceived of as expressing a new, parasitic and prosthetic, genus of cyber-textual subjectivity that defies the traditional lyric and expands its pool “by other means,” as Marjorie Perloff would say. Such a tendency results in conceptually as well as formally complex literary corpus “infected” by – to further exploit the suggested metaphor – parasitic voices and prosthetic selves. Unlike in generic lyric, the post- lyrical subject surpasses the confines of poetry as genre; it is grounded in collectivity, multivocality, mutability, uncreativity and serves not only as a representation of the multifaceted – not to say cyborgian à la N. Katherine Hayles and Donna J. Haraway – postmodern psyche with respect to the form and message, but also, on the other hand, the means of production and chain of command behind its textual architecture. In the world of accelerated automation and augmentation, user interfaces, neural networks, machine learning and ubiquitous AI, this thesis aims to facilitate the contextualization of subjectivity in the realm of hybrid and generated texts and perhaps also to investigate subjectivity through the gaze of the mechanical Other.

Este capítulo analisa o poema "Tudo pode ser dito num poema" de E. M. de Melo e Castro e o gerador de textos automáticos, "Sintext" de Pedro Barbosa frente a uma teoria da fala como ação e tendo em vista estas obras como necessitando de uma agir performático.

Este artículo propone leer la poesía digital latinoamericana en vinculación con el aconteci-miento poético-político que emerge cuando se considera su materialidad. Dar visibilidad a la materialidad habilita limitar la naturalización de los sentidos que vienen asociados a la cultura digital hegemónica contemporánea. Esto se logra desde procedimientos que ponen de relieve tanto los diversos niveles de materialidad inherentes a cada evento artístico literario digital-materialidad textual de superficie, materialidad relacional de las interfaces tanto de software como de hardware, materialidad del código-como los modos convencionales de ser con y hacer sentido de los entramados técnicos digitales que organizan nuestra vida cotidiana.

This paper aims to read Latin American digital poetry in regards to the poetic-political event that emerges whenever its materiality is considered. To make materiality visible enables one to restrict the naturalization of meanings associate with contemporary hegemonic digital culture. This is accomplished through artistic procedures that emphasize , on the one hand, the multiple levels of materiality inherent to digital literary works-surface/textual materiality, software and hardware interface relational materiality, code materiality-and, on the other hand, the conventional ways to interact with and build meaning within the digital space that organize everyday life.

What if the post-literary also meant that which operates in a literary space (almost) devoid of language as we know it: for instance, a space in which language simply frames the literary or poetic rather than ‘containing’ it? What if the countertextual also meant the (en)countering of literary text with non-textual elements, such as mathematical concepts, or with texts that we
would not normally think of as literary, such as computer code? This article addresses these issues in relation to Nick Montfort’s #!, a 2014 print collection of poems that presents readers with the output of computer programs as well as the programs themselves, which are designed to operate on principles of text generation regulated by specific constraints. More specifically, it
focuses on two works in the collection, ‘Round’ and ‘All the Names of God’, which are read in
relation to the notions of the ‘computational sublime’ and the ‘event’.

This talk attempted to show parallel grounds between word and langauge use  by visual artists and by poets. It treated some of the debates around the "end of poetry" and of literature, touching on issues relating to hypertext work. Primarily, this talk addressed the dialectic exchange and the opening of the poem, as the conference call mentioned:  "...a dialectical exchange between internal and external worlds, between the near and the far, an infinite becoming … an inaccessible space, impossible, unknowable:
the open space beyond the horizon. And, finally, the horizon of the work itself: the poem as its own horizon of expectation, forever opening out onto its own possibilities, its own beginnings and endings: its own entelechy." I spoke of works by visual artists and by poets at the end of the 20th century.

In this paper, I analyze the poems written in English by young, contemporary Kashmiri poets in an online platform called “The Kashmir Tales.” Through textual analysis of these intensely personal poems, I argue, that these poems show the effects of trauma in a highly mystical language. In order to demonstrate this relationship of the poems with trauma, I interpret two prominent and recurrent motifs in the poems – prisons and the interplay of love and death.