Category: Poetics


When poetry averts conformity it enters into the contemporary: speaking to the pressures and conflicts of the moment with the means just then at hand.

video still performing visual poetry of new media
architectural error; acceptance; passive user; disregard;

Darren Wershler-Henry

Darren Wreshler (Henry) is the author or co-author of 12 books, most recently, Guy Maddin’s My Winnipeg, and Update, with Bill Kennedy. Darren is an Assistant Professor of English at Concordia University, where he works with the Technoculture, Art and Games (TAG) group, and is also part of the faculty at the CFC Media Lab TELUS Interactive Art & Entertainment Program.

His Blog alienated.net–the most visible part of Darren’s brain.

PDF’s of The Tapeworm Foundry, a single unpunctuated sentence of pro-Situ proposals that resembles a social virus more than a functioning data-organism, its litany of avant-garde projects linked only by the seemingly innocuous, but progressively more imperative-sounding, “andor.”

http://www.ubu.com/ubu/wershler_tapeworm.html

Internet poem Nicholodeon, a seemingly exhaustive survey of the possibilities of concrete and process-based poetry in the Nineties, organized like a paper database with icons to guide the wary reader toward conceptual handles.

http://archives.chbooks.com/online_books/nicholodeon/

Update Terms of Service: This book will publish unauthorized communications. It will collect content or information using an automated means, employing harvesting bots, robots, spiders and/or scrapers without permission. It will engage in multi-level marketing. It may contain viruses or other malicious code. It may bully, intimidate and harass. It will contain content that is hateful, threatening and pornographic. It may contain nudity or graphic and gratuitous violence. It will have no age-based restrictions. It will be unlawful and misleading, and could disable, overburden or impair the proper workings of literature. It will facilitate and encourage the violation of poetry. It will let the dead speak.

notes, vocabulary

possible texture/flow for book of hyper-poetics

  • emergence of poetic space as a cyberspace, network of meanings, signified, language, situate a cyberspace into a poetic form

Is Poetry Enough? Poetry in a Time of Crisis

Reading Time: For a Poetics of Hypermedia Writing

Discussing the question of closure in hypertext fiction, George Landow wrote in Hypertext 2.0 (1997) that “[u]nlike texts in manuscript or print, those in hypertext apparently can continue indefinitely, perhaps infinitely” (191). Since the publication of Hypertext 2.0, experimental hypermedia has brought to the fore a new variety of open-ended literary works that both challenge and extend the typically link/node and word-based hypertexts to which Landow refers, such as Michael Joyce’s seminal hypertext story, Afternoon. (For online examples of word-based hypertext, see Joyce’s Twelve Blue and Judy Malloy’s LOve One.) A general survey of activities over the last four years reveals prominent changes not only in the way literary materials are composed but also in the tools of their distribution. Networked personal computers, coupled with advanced Web design software, provide a relatively cheap and easy mode of production and distribution not widely available before. As distribution machines, networked computers clearly change the relationship between author and reading public, most obviously in terms of the speed and range of distribution. Furthermore, new programming interfaces offer a whole host of gadgets–including animation, streaming video, vector motion, cascading styles, layering, and interactive behaviors–that together comprise some of the latest compositional tools of today’s screen-based writing. When put to use on the digital page, these devices alter the time of literary performance in ways significantly different from print-based, or even first-generation hypertextual, writings. Duration (scene progression, sequencing, real-time motion) is now built into the metalanguage of literary composition as a device, along with more conventional devices like line, paragraph, prosody, character, and plot. Moreover, the primary locale for this new performance, the World Wide Web, provides a zone of perpetual currency, or fleeting stability, or both (depending upon one’s perspective), which challenges conventional notions of the “past” and “present” of literary activity, in terms of the creative process as well as the distribution of a finished literary product. Three questions thus arise that will be treated throughout this essay: First, what are some of the ways in which computer technologies are currently used to create and distribute a time-based, hypermedia writing (with time-based defined for this study as hypermedia works whose “play” on the screen, either in whole or in part, is encoded into the work and computer-driven)? Second, how can time-based literary works of this kind be read in relation to traditional reading practices? Third, given the ephemeral nature of Web-based hypermedia, how might literary criticism in general accommodate this evolving art form?