new media poetry

Going beyond the mere employment of new communication technologies in the production of poetic texts, new media poetry integrates characteristics of the new media in the theoretical basis of its poetics. This paper outlines this basis and shows how it affects poetic and verbal conventions, particularly with respect to the constitution of texts and the roles of author and reader, and with regard to its implications for our views on language. The author thus contends that the innovative force of new media poetry lies not in the communicative channels used (e.g., computers, video, holography) per se, but in the exploration of their ramifications for syntactic, semantic and pragmatic aspects of verbal/poetic communication in general. This view is further developed through a discussion of some writing strategies of new media poetry.

(Source: Visible Language)

States that new media poetry integrates characteristics of the new media in the theoretical basis of its poetics. Outlines its basis and shows how it affects poetic and verbal conventions, particularly with respect to the constitution of texts and the roles of author and reader, and with regard to its implications for views on language. (Source: Eric database)

Eleven characteristics of networked digital poetry, a category that encompasses an enormous variety of work, are discussed and illustrated with examples. Issues raised include the recalibration of the writing/reading relationship, the nature of attachment at the site of interaction, an architectonic quality of instrument-building that characterizes many pieces, differing treatments of time and “place”, the use of recombinant flux, a performative character displayed by many works, the omnipresence of both translation and looping, as well as pervasive references to ruin and hybrid states of mixed reality.

(Source: article abstract)

This article intends to reflect upon the place of poetry in the teaching of literature and the formation of the reader, considering the recurrent metaphors and images in the interfaces of the
discourse of the hypermedia, among the languages provided by the Technology of Information and Communication (TIC) in contemporary society. It aims to demonstrate the possible experiences of reading and aesthetic appreciation which offers to the user/reader for the exercise of creativity and autonomy in the construction of collective intelligence. In order to do so, it focuses on the production of the Luso-Brazilian literature in hypermedia with emphasis on the remarkable presence of the Portuguese experimental poetry in the construction of digital poetry and the Brazilian cyberliterature in present time.

(Source: Author's Abstract)

The purpose of this paper is to discuss the use of interactive multimedia and hypertextual tools in literature classes. It argues for the promotion of multimedia programming within the context of creative writing, describing activities related to the conception and development of hypermedia projects in academic contexts. The first part is made up of a discussion of theoretical positions. We will provide an overview of studies about the relationship between literature and digital media. The second part of this paper will show how it is possible to articulate literary concepts such as multi-modality, intertextuality, reader-response and cooperation, with digital tools dealing with algorithms, combinatory techniques, multimedia programming, and networked hypertext. We will provide an account of projects involving the creation and recreation of experimental poetry in digital media, and through the discussion of other examples of the use of new media to teach poetry.