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264 pages

English

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The first international anthology to document a radically new poetry which takes language beyond the confines of the printed page into a non-linear world of digital interactivity and hyperlinkage. The work of the poets discussed in this book challenges even the innovations of experimental poetics. It embraces new technologies to explore a new syntax made of linear and non-linear animation, hyperlinkage, interactivity, real-time text generation, spatiotemporal discontinuities, self-similarity, synthetic spaces, immateriality, diagrammatic relations, visual tempo, multiple simultaneities, and many other innovative procedures. This new media poetry, although defined within the field of experimental poetics, departs radically from the avant-garde movements of the first half of the century, and the print-based approaches of the second half. Through an embrace of the vast possibilities made available through new media, the artists in this anthology have become the poetic pioneers for the next millennium.

Sujets

Arts visuels

ART

Digital

Internet

General

Poetry

Electronics

Media studies

General officer

Digital Media

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Publié par	Intellect Books Ltd
Date de parution	01 octobre 2007
Nombre de lectures	0
EAN13	9781841509945
Langue	English
Poids de l'ouvrage	1 Mo

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Media Poetry: An International Anthology
Eduardo Kac
Editor
Media Poetry: An International Anthology
Eduardo Kac
Editor
First Published in the UK in 2007 by Intellect Books, PO Box 862, Bristol BS99 1DE, UK
First published in the USA in 2007 by Intellect Books, The University of Chicago Press, 1427 E. 60th Street, Chicago, IL 60637, USA
Copyright 2007 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Cover Design: Gabriel Solomons Copy Editor: Holly Spradling Typesetting: Mac Style, Nafferton, E. Yorkshire
ISBN 978-1-84150-030-0/EISBN 978-184150-994-5
Printed and bound by Gutenberg Press, Malta
C ONTENTS
Introduction
Eduardo Kac
Introduction to the First Edition (1996)
Eduardo Kac
I - Digital Poetry
The Interactive Diagram Sentence: Hypertext as a Medium of Thought
Jim Rosenberg
Quantum Poetics: Six Thoughts
Stephanie Strickland
From ASCII to Cyberspace: a Trajectory in Digital Poetry
Eduardo Kac
Unique-reading Poems: a Multimedia Generator
Philippe Bootz
Interactive Poems
Orit Kruglanski
We Have Not Understood Descartes
Andr Vallias
Virtual Poetry
Ladislao Pablo Gy ri
Nomadic Poems
Giselle Beiguelman
Beyond Codexspace: Potentialities of Literary Cybertext
John Cayley
II - Multimedia Poetics
Holopoetry
Eduardo Kac
Recombinant Poetics
Bill Seaman
Videopoetry
E. M. de Melo e Castro
Language-based Videotapes Audio Videotapes
Richard Kostelanetz
Biopoetry
Eduardo Kac
III - Historical and Critical Perspectives
Media Poetry - Theories and Strategies
Eric Vos
Poetic Machinations
Philippe Bootz
Digital Poetics or On The Evolution of Experimental Media Poetry
Friedrich W. Block
Reflections on the Perception of Generative and Interactive Hypermedia Works
Jean-Pierre Balpe
Screening a Digital Visual Poetics
Brian Lennon
IV - Appendices
Media Poetry Chronology
Selected Webliography
Sources
Biographies
Acknowledgements
Index
I NTRODUCTION
Eduardo Kac
The first edition of this anthology came out in 1996 as a special issue of the journal Visible Language (vol. 30, n. 2). The original title and subtitle were New Media Poetry: Poetic Innovation and New Technologies . For this revised and enlarged second edition I changed new media poetry to media poetry , and the subtitle now accents the global nature of the movement. I changed new media poetry to media poetry because now, ten years later, digital and electronic media are no longer new in society in general or in poetry in particular. The change we see today is not one of kind but degree. In other words: the question concerning media today is no longer the passage from a society without personal computing devices and mobile networked media to one in which they reshape social space and interpersonal experience; the question today is the acceleration and expansion of this process. This implies further miniaturization (greater portability), additional media convergence (integration of word, image, sound, movement, transmission, and many other sign-processing features into a single device), and broadband network ubiquity (the eventual ability to process and exchange messages in any media anywhere). This process will undoubtedly contribute to expand the poet s creative media and will affect the writing/reading process in stimulating ways.
Another fundamental aspect of the difference between the terms new media poetry and media poetry is that while new media is often associated with digital technology, media is broad enough to also encompass photonic and biological creative tools as well as non-digital technology (e.g., analogue electronic technology and poetic experiments conducted in zero gravity). Further, the general term media poetry - without the word new - is useful in defining the broader field of technology-based poetic creation going back to the 1960s and projecting it forward into the twenty-second century. New is too ephemeral; media connotes the various means of mass communication thought of as a whole - in other words, technological systems of production, distribution, and reception.
It is a truism to state that the audience for poetry in general is not large, and that readers of media poetry constitute an even smaller group. In 1996 the audience for media poetry was fundamentally composed of the poets themselves and their immediate circles. In order to share the results of our poetic experiments we met informally, exchanged disks via the postal system (because the network was not capable of storing, displaying, streaming, or transmitting specific formats and large files), convened (and often presented together) at international conferences, discussed common interests via e-mail and listservs, and mounted exhibitions. Fortunately, it is possible to say that in these ten years the audience for media poetry has grown. Several factors contributed. The original edition of this book was the first anthology of its kind published anywhere - a truly international anthology of media poetic theory featuring essentially poets themselves discussing their works and ideas. In the last decade, several anthologies and monographs have been published, contributing to shape the field and spread the reach of the poets accomplishments. As a consequence of the international growth in production and scholarly interest, media poetry started to be incorporated into the curriculum of literary and interdisciplinary studies programs, with the by-product of countless master and doctorate theses being produced. While academic scrutiny and exegesis in and of itself, as a scholarly exercise, would be of no particular interest, the fact that interested literature students have read - and reflected on - the work of these poets with focused interest and intellectual curiosity is a clear sign of change. Perhaps even more significant in the educational context is the fact that now we also see creative writing classes incorporating digital technologies, which means that interested young writers now have environments in which they can be supported in the production of their own original works. An ever-broader global media art exhibition circuit started to incorporate media poetry works that cannot be properly or exclusively displayed online, such as installations. It is a unique sign of the new boundary-blurring condition of language-based media art that many works are equally comfortable in visual art or creative writing circuits - what makes this clearly different from 1960s conceptual art is the literary dimension of these works in direct engagement with the new cultural context of global digital networks. Finally, the greater accessibility of personal computers and mobile devices and the growth of the Web have helped disseminate that facet of media poetry that is specifically digital.
Clearly, technology as a writing and reading medium occupies an important place in the creative repertoire of the poets represented here. However, it is important to insist on the fact that they come to technology out of their own individual literary needs; that is, the impulse to combine their personal vision with a radical reimagining of poetry s expressive power through programming, interactivity, looping, networking, and many other new procedures. Technology alone is not the focus. Inasmuch as their work does indeed break new ground through the creation of new poetic forms, the focus must always remain on their individual poetic visions. This is true of all noteworthy art and poetry (think of Cummings and his inseparable portable Smith-Corona). By the same token, it must also be clear that what is at stake in media poetry is not a retake of the modern ideal of the new as a value in itself. Quite simply, the essays in this book demonstrate that formal innovation is a process intrinsic to culture. Formal innovation has always been and always will be a part of art and literature.
So, if technology plays a fundamental role in the poetry here documented but is not the central or dominant issue itself, what should be the focus of the reader s attention? The answer is simple: the poems themselves as verbal/visual/acoustic entities and as cognitive/perceptual/kinesthetic experiences. Each poet addresses his or her own themes through his or her own compositional system. An examination of the personal characteristics of the production of media poets is a significant task, to be taken up at another place and time, by diligent researchers. Undoubtedly, the poets own essays and the critical reflections collected here will be of assistance in this task. The poems are the focus of the reader s attention, but the poems themselves, by the very technological nature that makes them what they are, cannot be directly presented in a print compendium. Most digital pieces herein discussed can easily be downloaded or seen online (see the Webliography section), whereas other works can be seen during international exhibitions, visits to public or private collections, or special events. Inevitably, the distribution of media poetry follows from its immaterial condition.
The contradiction between the wide distribution of the media poems and the limited circulation of the first edition of this book (which was distributed directly to libraries and not available through bookstores or the Internet) is the main reason for this second edition. Since it first came out as a journal special issue, it could only be consulted at the libraries that owned it; it did not circulate as a regular book. Its accessibility has remained restricted to devout researchers. While a portion of the original material has subsequently found its way online, the collection itself, as the focused mark of media poe