Maria Engberg wrote an interesting review of two books relevant to digital poetry: Chris Funkhouser’s Prehistoric Digital Poetry–An Archeology of Forms (1959-1995) and Johanna Drucker’s Speclab: Digital Aesthetics and Projects in Speculative Computing. Engberg says:
“A challenging notion for both scholars and artists to take up, then, is that social media seems to speak against the strong authoritative force and artistic drive behind the works that both Drucker (artists’ books) and Funkhouser (digital poetry) discuss. The modernist poetics of digital poetry that Funkhouser describes, not incorrectly, is perhaps inherently incompatible with the contemporary social creativity (for lack of a better term) of YouTube mashup videos, Facebook status update string narratives, Twitter feeds, and locative mobile “app-experiences” with their motley aesthetic and political pedigrees and agendas, unclear sender and reader positions (endlessly multiple) and transient status as objects.”
I have a different take on this subject, I think, than Engberg’s. Digital/literary work that deals with Twitter, say, is not simply somebody tweeting. Instead, we see work like The Longest Poem in the World. This is a programmerly work that creates rhyming couplets out of a Twitter feed of thousands of people tweeting. When I just visited, it had written 1,353,298 verses. It’s constantly adding more verses.
Similarly, digital/literary art that deals with Facebook won’t simply be someone writing status updates or links or notes or whatever other functionality Facebook provides. It will, like The Longest Poem in the World, operate not simply within the social media app’s system, but will take it and its contents as ‘feed’.