How the Letters Learnt to Dance: On Language Dissection in Dadaist, Concrete and Digital Poetry

2005 ◽  
pp. 149-172 ◽  
Keyword(s):  
Digital Poetry

Construction of Visual Features of Indonesian Digital Poetry

2017 ◽  
Vol 3 (5) ◽  
pp. 1
Author(s):  
Johan Mahyudi ◽  
Djoko Saryono ◽  
Wahyudi Siswanto ◽  
Yuni Pratiwi
Keyword(s):  
Computer Technology ◽  
Visual Art ◽  
Feature Space ◽  
Digital Art ◽  
Visual Features ◽  
Technology Application ◽  
Digital Poetry ◽  
Textual Space ◽  
Neutral Space ◽  
Short Time

In short time, Indonesian digital poetry attracts its audience through a series of visualization features of the digital art. This research uses a short segment analysis on Indonesian videography digital poetry to demonstrate the existence of visual conglomeration practices through the creation of objects, features, a feature of space, measuring distance in feature space, and dimension reduction. These five approaches are proposed by Manovich (2014) in ​​grouping millions of visual artworks based on simple criteria. Of the three common objects are found, Indonesian animators, prefer individuals and texts as the main impression. The movement features are found in cinematic poetry and its rely depend on kinetic texts. Meanwhile, non-movement features can be found in the form of human imitation or part of them, portraits, silhouettes, and comics. Indonesian digital poetry of space features in form of textual space is prioritizing on the kinetics text, the space of time is prioritizing the presentation of objects association of words are spoken, the neutral space is prioritizing the use of computer technology application. The grouping of visual art composition is based on two criteria: the technique of creating and artistic impressions. The dimensional reducing is prominently practiced by Afrizal Malna.

An introduction to the functioning process of embedded paratext of digital literature: Technoeikon of digital poetry

2018 ◽  
Vol 34 (3) ◽  
pp. 646-660
Author(s):  
T Shanmugapriya ◽  
Nirmala Menon ◽  
Andy Campbell
Keyword(s):  
Print Culture ◽  
Historical Perspective ◽  
Electronic Literature ◽  
Literary Works ◽  
Digital Literature ◽  
Digital Poetry ◽  
Cyclical Process ◽  
The Comparative Study ◽  
Digital Components

Abstract The recent digital-born electronic literature has heterogeneous components such as kinetic texts, kinetic images, graphical designs, sounds, and videos. These digital components are embedded with the main text as the paratext of print and digital works such as preface, author’s name, illustrations, and title. However, the comparative study between paratext and embedded paratext of electronic literature shows the different strategic patterns and functions of these entities. We discuss the conceptual framework of illuminant devices of paratexts and propose a new term technoeikon to recognize the functions of embedded literary artifact in digital literary works. We examine the critical construction of new term technoeikon which has a unique characteristic that makes electronic literary works different from print literature. This essay reviews the cyclical process of technoeikon from the historical perspective of pre-print culture and print culture and acknowledges technoeikon as inherited from our tradition. Due to digital contrivances, technoeikon takes a new expression as performing in digital ecology which is different from our traditional analog. This article presents a case study on Andy Campbell's (2007b) Dim O'Gauble. Also, Campbell responds to the interpretation of new term technoeikon in the fourth section of the essay.

Vanishing letters in text-based digital installations

First Monday ◽  
2017 ◽  
Author(s):  
Janez Strehovec
Keyword(s):  
New Media ◽  
Digital Media ◽  
Contemporary Art ◽  
Narrative Text ◽  
Electronic Literature ◽  
Digital Poetry ◽  
Science Philosophy

New media shaped textuality, narrative, codeworks and digital poetry are deployed in electronic literature as a practice situated in Internet and post-Internet arts. E-literature embedded in online venues has outgrown a hyperfiction phase and become conceptual. Instead of hyperlink-based storytelling, it has begun dealing with itself, becoming e-literature after the end of e-literature-as-we-know it, aligning with contemporary art, science, philosophy, economy and politics. Entering the “after the end” phase is of essential importance for a particular field. In its conceptual phase, e-literature addresses its fundamental principles, investigates the limitations of digital media, Internet, language, narrative, text, sign and code. Its projects are laboratories for playing with different hypotheses. However, the reflection on the technology that generates it and the experience stimulated by its projects significantly contribute to an understanding of e-literature. This paper is focused on the second experience as defined according to Benjamin’s concept of the second technology, a playful experience enabled through technology. Based on play, the second experience promotes exploration and blurring boundaries, which in the case of digital textuality means dealing with a vanishing text which is only conditionally legible and whose existence is limited to a particular time.

scholarly journals Digital poesi og materialitet

2013 ◽  
Vol 28 (69) ◽  
Author(s):  
Hans Kristian Rustad
Keyword(s):  
Digital Literature ◽  
Digital Poetry

Hans Kristian Rustad fokuserer i “Digital poesi og materialitet. Materiel forgængelighed i Johannes Heldéns Entropi” på et bestemt eksempel på den multimodale poesi, nemlig poesien på internettet. Rustad rejser som Conte spørgsmålet om, hvordan digital poesi kan bidrage til forståelsen af intermedialitet og materialitet og herunder til forholdet mellem trykte og digitale tekster.Hans Kristian Rustad: “Digital Poetry and Materiality. Material Transitoriness in Johannes Heldén’s Entropi”How can digital poetry contribute to an understanding of intermediality and materiality, and, more to the point, the relation between print and the digital? N. Katherine Hayles defines intermediality in relation to digital literature as a “dynamicheterachy”, that is, an interplay where print and the digital continually inform and define each other. In its simplest form the relation between print literature and digital literature can be approached, according to Hayles, through two complementarystrategies: imitation and intensifying. She acknowledges the need for a further exploration of how these two strategies might work in digital literature, and how digital literature in general discovers and re-discovers relations between print and the digital. This article picks up where Hayles’s left off and discusses how materialityand intermediality are presented in Johannes Heldén’s work Entropi (2010).

scholarly journals The Visual and the Self in Contemporary Poetry

2008 ◽  
pp. 0
Author(s):  
Andrew Michael Roberts
Keyword(s):  
Visual Perception ◽  
Natural World ◽  
Contemporary Poetry ◽  
The Self ◽  
Contemporary Culture ◽  
Digital Poetry ◽  
Romantic Poetry ◽  
Reflective Thought ◽  
Reflection And Refraction ◽  
The Relationship

Abstract The dominance of the visual is often seen as a new and defining feature of contemporary culture. Yet it is Romantic poetry which most powerfully associates the act of seeing with understanding, self-shaping and the visionary. This article draws on the ideas of the Idealist philosopher J.G. Fichte and the German Romantic writers Novalis and F.W. Schlegel, as well as some of Walter Benjamin’s reading of their work, to explore the ways in which contemporary poetry engages with this Romantic legacy. Making connections with the metaphors of reflection and refraction used by Wordsworth and Coleridge, the article interprets examples of 21st-century post-Romantic text poetry (which revisits Romantic models with an ecological inflection), and digital poetry (which uses technology to reconfigure the relationship between text, self and the visual). More specifically, it proposes a set of relations between visual perception of the natural world, reflective thought and awareness of self in the work of three contemporary poets: Thomas A.Clark (born Greenock, Scotland, 1944), John Burnside (born Dunfermline, Scotland, 1955) and John Cayley (born Ottawa, Canada).

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