Posts Tagged ‘poetry’
Apologies for the long absence. In the interim, I got married to the lovely Natalie Funk. And bought a condo in Metrotown in Vancouver. And have been teaching mobile app development. And will soon be teaching mobile web development and motion graphics at the Emily Carr U of Art and Design. It’s been a time of a lot of change and, additionally, a lot of retooling. I’ve been learning mobile development this and mobile development that. Lots of new tricks for this old dog.
I put a couple of things together last week that I’d like to show you. I published seven visual poems by Joe Keppler back in 2008. I always liked them and thought them special, but since I published them, I’ve given them deeper thought–and wrote something that gets at what, to me, is so remarkable about these poems.
I also recoded Joe’s visual poems into HTML that displays well on mobile devices. I’ve been reading about “responsive web design” recently in preparation for teaching a course on mobile web development. Basically, “responsive web design” is about making web pages that work well on really a very wide range of display devices from big TVs down to smartphones. Joe’s poems were excellent practice in responsive design because they are varying degrees of simple but take up the whole page. Recoding these pages into contemporary HTML has helped me a great deal with my understanding of contemporary web design.
I used Camtasia 8 to create this video. I’ve used the voice-over capabilities of Camtasia before to create videos that talk about what’s on the screen, but this is the first time I’ve been able to use the webcam with it. Still a few bugs, though, it seems: at times the video is quite asynchronous between voice and video.
Still, you get the idea. I’m a big fan of Joe Keenan’s MOMENT and am glad I finally did a video on it.
I would like to announce the launching of my new blog: I ♥ E-Poetry.
Here’s a little background about me. I’ve created over 25 websites, blogs, groups, and other online spaces since 1999. For the past 5 years, I’ve maintained a blog which documents my professional work, including most of my course blogs. I use Facebook to keep in touch with friends and family, sharing choice morsels of my personal life.
Aside from my dissertation, articles, and presentations, I’ve been searching for my voice as a scholar of digital literature. I use Twitter to connect with my peers in the digital humanities and e-literature communities. I read, favorite, retweet, share, and occasionally reply, but I don’t feel like I’m making a contribution.
My dad used to say one shouldn’t speak unless one had something to contribute to the conversation. So I’ve been mostly quiet: reading, listening, learning.
Yesterday it struck me: I know what to contribute. I’m going to read an e-poem every day, and I will respond to it in writing: in about 100 words. Every day.
My plan is to start with the Electronic Literature Collections, then take on the Electronic Poetry Center, or the Electronic Literature Directory, or the ELMCIP Knowledge Base, or poetry e-zines, or individual websites. The point is: there is enough e-poetry out there for me to read and respond to for a long while.
If this blog helps people discover the poetic potential of digital media or sparks some ideas, great. If you’re interested, feel free to follow, subscribe, like, share, retweet, bookmark, whatever. Or not: it’s all good.
It will serve me as an annotated bibliography of what I find interesting in e-poetry. And that alone will make it worth my time and effort.
I’m looking forward to the challenge.
Jörg Piringer is a sound poet and poet-programmer currently living in Vienna/Austria. He really knows what he’s doing with the programming, having a master’s degree in Computer Science. And his sound work, both in live performance and in synthesis with the auditory and visual processing, is quite remarkable. I saw him in Nottingham and Paris, and was very impressed on both occassions.
He’s just released a new piece, a video called Unicode. It’s a 33:17 long, and simply displays Unicode characters. Each character is displayed for about 0.04 seconds. The video displays 49,571 characters.
It’s a video, but it’s a conceptual piece. The characters in this video are all symbols and each makes but the briefest appearance. A cast of thousands; Bar and Yeace.
Wikipedia describes Unicode thus:
Unicode is a computing industry standard for the consistent encoding, representation and handling of text expressed in most of the world’s writing systems. Developed in conjunction with the Universal Character Set standard and published in book form as The Unicode Standard, the latest version of Unicode consists of a repertoire of more than 109,000 characters covering 93 scripts, a set of code charts for visual reference, an encoding methodology and set of standard character encodings, an enumeration of character properties such as upper and lower case, a set of reference data computer files, and a number of related items, such as character properties, rules for normalization, decomposition, collation, rendering, and bidirectional display order (for the correct display of text containing both right-to-left scripts, such as Arabic and Hebrew, and left-to-right scripts). As of 2011, the most recent major revision of Unicode is Unicode 6.0.
Piringer’s Unicode simply shows us symbols but, to me, it illustrates how our notion of language has been expanded to not only the multi-lingual but also to include code. Not only do we see many of the world’s scripts but a good deal of abstract symbols of code.
By the way, his web site at joerg.piringer.net is well worth checking out.
Millie Niss passed away in 2009. She was a New York writer/poet, programmer, and mathematician who took her work as a new media artist very seriously. Her mother Martha Deed has put together a book of her writings called City Bird that was recently published by BlazeVox. I’ve been reading it. Anyone who knew her, in reading this book, is reminded so much of her presence, voice, humour, intelligence, suffering, and strength. It’s quite a strong statement, really, of resilience in the face of the frequent sickness she had to endure throughout her life.
It’s a book I’ll keep and read over the years. I think Millie would be delighted with what Martha has done in editing this collection of Millie’s poems and getting it published.
I wrote something about Millie not long after she passed away, and worked with Martha on putting some photos of Millie up on the net. I miss the Niss. Many thanks to Martha for this terrific collection of Millie’s poetry.
With the proliferation of audio webstreams and all sorts of digital smart boxes calling themselves radios, we need to ask, well, if these streams are becoming ever more fluent, then what space is being drained? When someone asks me, as they do, often, if I love Pandora, well, what sort of bugs are they asking me to love?
- Radio poesis flows from the edges, some of them very fragile and sensitive, and occasionally they may even swell or bleed. Edges between signal and noise. Edges of frequency and range, both of which implicate edges of power and politics. Edges between attraction and repulsion; between Eros and Thanatos, or utopia and oblivion; the double edged ambiguities of sender and receiver caught in their limbic limbo dance. How low can we go?
As any biologist will confirm, edges are very often the key to the vitality of an ecosphere. Without edges, exchanges of energies (be they hoots, howls or body fluids) are rapidly and perhaps terminally diminished.
When I bemoan the lack of poetic or aesthetic diversity on public radio (whether CBC, NPR, BBC or wherever), I am bemoaning the lack of edges. Instead of program streams that celebrate lively & liminal qualities such as fluid ambiguity and slippery murk, qualities that give heart and truth to the medium, we hear nothing but tight and tidy pitter patter, which in an infinitely messy cosmos (well expressed within the human species) serves up the ultimate deceit.
When Jim invited me to join the group back in May, I had just successfully defended my dissertation. I decided that I didn’t want to jump into the conversation until it was available online, so I could share my research freely. In the meantime, I’ve enjoyed the postings and am thrilled and honored to be a part of this group blog.
My dissertation is titled “Typing the Dancing Signifier: Jim Andrews’ (Vis)Poetics” and is now available for free download at the Digital Repository at the University of Maryland: http://hdl.handle.net/1903/10799. If you’d like to know more about me and my work, here’s a link to my blog: http://blogs.uprm.edu/flores.
What is my dissertation about? The title should be enough of a hint, but here’s the abstract.
About a year ago, John Cayley made a post on NetPoetic entitled “An Edge of Chaos”. In it he delimits a constraint-based networked-writing process: “Write into the Google search field with text delimited by quote marks until the sequence of words is not found. Record this sequence….”
A couple of weeks ago, I woke up with the idea of making a poem composed entirely of lines that returned no search results. “Wow”, I thought to myself, “what a great idea”. I had forgotten it was John’s idea.
If this situation occured in 2014 (for example), and on waking I told the idea to my girlfriend, perhaps the instant-speech-checking algorithmically-networked microphone next to our bed might have immediately alerted me to my potential plagiarism. As it is, my memory had to slowly percolate John’s prescient precedent to the surface of my mind like a splinter.
Neuronal latency in the 21st century data avalanche is a vestigial design flaw that needs to be technologically cauterized.
Imagine that (while typing / while speaking), footnotes, bibliographies and source attributions immediately auto-generate, links sprout around text, and areas of uniqueness are spontaneously (and perhaps effortlessly) patented. The race to network becomes a race to brand segments of communication, to demarcate phrases of language, to colonize conjunctions of text in the same way attributions of authorship emerged from the book.
A writer becomes a sewer (sic pun) of uniqueness. Instead of quotation marks, a new grammar of overlapping links allow the subtlety of appropriated text’s multiple inheritances to Xanadu off towards diverse sources. Instead of Flarf, context-specific algorithmic-grammars differentiate between semantically meaningful units of language and word-salad collage-spew net-wrack.
Dsytopic singularity theories aside, an era of instantaneous as-you-type network-search is arriving. Google Instant is just one stride in the sprint toward word-processing software that automatically checks writing for repetition and rewards writing that is both meaningful and unique.