digital poetry

Hans Kristian Rustad pressents his research project on poetry in the "Digital Melting Pot."

Hans Kristian Rustad presenterer forskningsprosjektet sitt, som er en del av Kulturrådets forskningssatsing i 2019 Digital kultur, estetiske praksiser

In 1985, Italo Calvino wrote a series of lectures (later published as ‘memos’) in which he proposed six values he deemed crucial to literature as it moved into the next millennium: lightness, quickness, ‘crystal’ exactitude, visibility, multiplicity, and consistency. Though never a writer of electronic literature, Calvino has frequently been associated or referenced in relation to digital works. J.R. Carpenter’s web-based work The Gathering Cloud (2016) (hereafter TGC) exhibits Calvino’s values. TGC is informed by Howard’s 1803 Essay on the Modifications of Clouds. Howard’s ‘frontispiece’ and five ‘plates’ are used in Carpenter’s web-based work. Poetry is then superimposed on these repurposed illustrations. Situated ‘within’ the poetry, animated gif collages play. Where Calvino in his memos writes that he considers the virtues of the binary opposites of his values (i.e., weight, lingering, ‘flame’ exactitude, ambiguity, singularity, and inconsistency) no less compelling, Carpenter’s work suggests that Calvino’s values (or rather the absence or removal of their binary opposites) are not only preferable in terms of contemporary literary challenges, but an ethical imperative in relation to environmental impact as it relates to contemporary media, dissemination, and indeed everyday life. In this analysis of TGC, Calvino’s values will be discussed in relation to each of the work’s six sections (i.e., the ‘frontispiece’ and five ‘plates’).

With the ascent of digital culture, new forms of literature and literary production are thriving that include multimedia, networked, conceptual, and other as-yet-unnamed genres while traditional genres and media—the lyric, the novel, the book—have been transformed. Word Toys: Poetry and Technics is an engaging and thought-provoking volume that speculates on a range of poetic, novelistic, and programmed works that lie beyond the language of the literary and which views them instead as technical objects. Brian Kim Stefans considers the problems that arise when discussing these progressive texts in relation to more traditional print-based poetic texts. He questions the influence of game theory and digital humanities rhetoric on poetic production, and how non-digital works, such as contemporary works of lyric poetry, are influenced by the recent ubiquity of social media, the power of search engines, and the public perceptions of language in a time of nearly universal surveillance. Word Toys offers new readings of canonical avant-garde writers such as Ezra Pound and Charles Olson, major successors such as Charles Bernstein, Alice Notley, and Wanda Coleman, mixed-genre artists including Caroline Bergvall, Tan Lin, and William Poundstone, and lyric poets such as Harryette Mullen and Ben Lerner. Writers that trouble the poetry/science divide such as Christian Bök, and novelists who have embraced digital technology such as Mark Z. Danielewski and the elusive Toadex Hobogrammathon, anchor reflections on the nature of creativity in a world where authors collaborate, even if unwittingly, with machines and networks. In addition, Stefans names provocative new genres—among them the nearly formless “undigest” and the transpacific “miscegenated script”—arguing by example that interdisciplinary discourse is crucial to the development of scholarship about experimental work.

(Source: University of Alabama Press catalog copy)