By Adalaide Morris, Thomas Swift
New media poetry--poetry composed, disseminated, and browse on computers--exists in a variety of configurations, from digital files that may be navigated and/or rearranged by means of their "users" to kinetic, visible, and sound fabrics via on-line journals and information like UbuWeb, PennSound, and the digital Poetry heart. not like mainstream print poetry, which assumes a bounded, coherent, and self-conscious speaker, new media poetry assumes a synergy among humans and clever machines. The essays and artist statements during this quantity discover this synergy's continuities and breaks with previous poetic practices, and its profound implications for the future.By including new media poetry to the examine of hypertext narrative, interactive fiction, computing device video games, and different electronic paintings kinds, New Media Poetics extends our figuring out of the pc as an expressive medium, showcases works which are visually arresting, aurally charged, and dynamic, and strains the lineage of latest media poetry via print and sound poetics, procedural writing, gestural abstraction and conceptual paintings, and activist groups shaped by means of emergent poetics.
Contributors:Giselle Beiguelman, John Cayley, Alan Filreis, Loss Pequeño Glazier, Alan Golding, Kenneth Goldsmith, N. Katherine Hayles, Cynthia Lawson, Jennifer Ley, Talan Memmott, Adalaide Morris, Carrie Noland, Marjorie Perloff, William Poundstone, Martin Spinelli, Stephanie Strickland, Brian Kim Stefans, Barrett Watten, Darren Wershler-Henry
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Extra info for New Media Poetics: Contexts, Technotexts, and Theories
Glazier, Loss Pequeño. 2002a. Digital Poetics: The Making of E-Poetries. Tuscaloosa: University of Alabama Press. Glazier, Loss Pequeño. 2002b. html (accessed February 12, 2005). Goldsmith, Kenneth. 2002–2003. ” Drunken Boat no. 5 (Winter). html (accessed February 20, 2005). Goody, Jack. 1987. The Interface between the Written and the Oral. New York: Cambridge University Press. Hansen, Mark B. N. 2000. Embodying Technesis: Technology Beyond Writing. Ann Arbor: University of Michigan Press. Hansen, Mark B.
This is not the force traditionally figured as a muse or daemon: Stefans’s demon looks nothing like Coleridge’s nineteenth-century esemplastic imagination or Bloom’s high modernist oedipal anxiety of influence. What drive these poems are the energy patterns of an age of information. For Johanna Drucker, it includes the “algorithmic imagination” (2002, 689), for Lev Manovich, the “database imagination” (2001, xxiv), but we might think of it more simply as the spirit of an informational age. Distinct from the encyclopedic imagination of the Enlightenment, it is the cyborganization that is now recalibrating how we write and how we think: “what is seen” when poets and critics catch up with “how everybody is doing everything” (Stein 1998a, 520).
Cambridge, MA: MIT Press. Castells, Manuel. 2000. The Rise of the Network Society, 3 vols. Oxford: Blackwell. Cayley, John. 2002a. ” electronic book review. com/v3/servlet/ (accessed February 17, 2005). Cayley, John. 2002b. What We Will. com/what/ (accessed February 23, 2005). Cayley, John. 2004a. ” electronic book review. command=view_essay&essay_id=cayley (accessed January 29, 2005). Cayley, John. 2004b. htm (accessed February 9, 2005). Conte, Joseph M. 1991. Unending Design: The Forms of Postmodern Poetry.
New Media Poetics: Contexts, Technotexts, and Theories by Adalaide Morris, Thomas Swift