Media are poetic forces. They produce and reveal worlds, representing them to our senses and connecting them to our lives. While the poetic powers of media are perceptual, symbolic, social and technical, they are also profoundly moral and existential. They matter for how we reflect upon and act in a shared, everyday world of finite human existence. The Poetics of Digital Media explores the poetic work of media in digital culture. Developing an argument through close readings of overlooked or denigrated media objects and practices – screenshots, tagging on social media, selfies, and more – the book reveals how media act as poetic infrastructures, continually populating the world with beings and scenarios to be encountered, while also creating poetic performances, making the world available for apprehension, recognition and reflection. Paul Frosh analyses how media shape the experiential structures of our lives, and enable their revelation through (sometimes shocking) moments of visibility and tangibility. Bringing us face to face with the conditions of our existence, he investigates how the 'given' world we inhabit is given through media. The Poetics of Digital Media is important reading for students and scholars of media theory, philosophy of media, visual culture and media aesthetics.
Not Born Digital addresses from multiple perspectives – ethical, historical, psychological, conceptual, aesthetic – the vexing problems and sublime potential of disseminating lyrics, the ancient form of transmission and preservation of the human voice, in an environment in which e-poetry and digitalized poetics pose a crisis (understood as opportunity and threat) to traditional page poetry. The premise of Not Born Digital is that the innovative contemporary poets studied in this book engage obscure and discarded, but nonetheless historically resonant materials to unsettle what Charles Bernstein, a leading innovative contemporary U.S. poet and critic of “official verse culture,” refers to as “frame lock” and “tone jam.” While other scholars have begun to analyze poetry that appears in new media contexts, Not Born Digital concerns the ambivalent ways page poets (rather than electronica based poets) have grappled with “screen memory” (that is, electronic and new media sources) through the re-purposing of “found” materials.
In this revolutionary and highly original work, poet-scholar Glazier investigates the ways in which computer technology has influenced and transformed the writing and dissemination of poetry. In Digital Poetics, Loss Pequeño Glazier argues that the increase in computer technology and accessibility, specifically the World Wide Web, has created a new and viable place for the writing and dissemination of poetry. Glazier's work not only introduces the reader to the current state of electronic writing but also outlines the historical and technical contexts out of which electronic poetry has emerged and demonstrates some of the possibilities of the new medium. Glazier examines three principal forms of electronic textuality: hypertext, visual/kinetic text, and works in programmable media. He considers avant-garde poetics and its relationship to the on-line age, the relationship between web "pages" and book technology, and the way in which certain kinds of web constructions are in and of themselves a type of writing. With convincing alacrity, Glazier argues that the materiality of electronic writing has changed the idea of writing itself. He concludes that electronic space is the true home of poetry and, in the 20th century, has become the ultimate "space of poesis." Digital Poetics will attract a readership of scholars and students interested in contemporary creative writing and the potential of electronic media for imaginative expression.
Drawing on the fields of semiotics, philosophy, aesthetics, ethics, media studies, sociology, and education, the author probes the meaning of digital technology for the society and culture. (Technology)
Emerging technologies enable a wide variety of creative expression, from music and video to innovations in visual art. These aesthetics, when properly explored, can enable enhanced communication between all kinds of people and cultures. The Handbook of Research on Digital Media and Creative Technologies considers the latest research in education, communication, and creative social expression using digital technologies. By exploring advances in art and culture across national and sociological borders, this handbook serves to provide artists, theorists, information communication specialists, and researchers with the tools they need to effectively disseminate their ideas across the digital plane.
This collection of essays by Australian based practitioner–theorists brings together new research on interactive documentary making. The chapters explore how documentary theory and practice is influenced by digitisation, mobile phones, and new internet platforms. The contributors highlight the questions raised for documentary makers and scholars as new production methods, narrative forms, and participation practices emerge. The book presents an introduction to documentary techniques shaped by new digital technologies, and will appeal to documentary scholars, students, and film-makers alike.
New media poetry—poetry composed, disseminated, and read on computers—exists in various configurations, from electronic documents that can be navigated and/or rearranged by their "users" to kinetic, visual, and sound materials through online journals and archives like UbuWeb, PennSound, and the Electronic Poetry Center. Unlike mainstream print poetry, which assumes a bounded, coherent, and self-conscious speaker, new media poetry assumes a synergy between human beings and intelligent machines. The essays and artist statements in this volume explore this synergy's continuities and breaks with past poetic practices, and its profound implications for the future. By adding new media poetry to the study of hypertext narrative, interactive fiction, computer games, and other digital art forms, New Media Poetics extends our understanding of the computer as an expressive medium, showcases works that are visually arresting, aurally charged, and dynamic, and traces the lineage of new media poetry through print and sound poetics, procedural writing, gestural abstraction and conceptual art, and activist communities formed by emergent poetics. Contributors: Giselle Beiguelman, John Cayley, Alan Filreis, Loss Pequeno Glazier, Alan Golding, Kenneth Goldsmith, N. Katherine Hayles, Cynthia Lawson, Jennifer Ley, Talan Memmott, Adalaide Morris, Carrie Noland, Marjorie Perloff, William Poundstone, Martin Spinelli, Stephanie Strickland, Brian Kim Stefans, Barrett Watten, Darren Wershler-Henry
"This book starts out with the assumption that communication today is a "structural" component of society. Now more than ever, literally almost nothing can be generated without communication. This means that architects in general, and especially an increasingly greater number of specialists dealing with "communication design", must be more aware. The author carries out this search for awareness. He particularly highlights the structure of data, the medium of the screen, and the modes of language which use images, sequential and hypertext structures. Underlying the form of the various materials is the concept that communication also opens up a new "narrative" space in tune with a general interest in an architecture that reacquires multiple layers of meaning."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Moving beyond traditional cyberculture studies paradigms in several key ways, this comprehensive collection marks the increasing convergence of cyberculture with other forms of media, and with all aspects of our lives in a digitized world. Includes essential readings for both the student and scholar of a diverse range of fields, including new and digital media, internet studies, digital arts and culture studies, network culture studies, and the information society Incorporates essays by both new and established scholars of digital cultures, including Andy Miah, Eugene Thacker, Lisa Nakamura, Chris Hables Gray, Sonia Livingstone and Espen Aarseth Created explicitly for the undergraduate student, with comprehensive introductions to each section that outline the main ideas of each essay Explores the many facets of cyberculture, and includes sections on race, politics, gender, theory, gaming, and space The perfect companion to Nayar′s Introduction to New Media and Cyberculture
The first international anthology to document a radically new poetry which takes language beyond the confines of the printed page into a non-linear world of digital interactivity and hyperlinkage. The work of the poets discussed in this book challenges even the innovations of experimental poetics. It embraces new technologies to explore a new syntax made of linear and non-linear animation, hyperlinkage, interactivity, real-time text generation, spatiotemporal discontinuities, self-similarity, synthetic spaces, immateriality, diagrammatic relations, visual tempo, multiple simultaneities, and many other innovative procedures. This new media poetry, although defined within the field of experimental poetics, departs radically from the avant-garde movements of the first half of the century, and the print-based approaches of the second half. Through an embrace of the vast possibilities made available through new media, the artists in this anthology have become the poetic pioneers for the next millennium.
Digital poetry demonstrates and reflects the use of language and symbol systems in computers and digital networks. Digital poetry thus refers to creative, experimental, playful, and also critical language art involving programming, multimedia, animation, interactivity, and internet communication. This book discusses how the concepts of text and poetry and of reception and authorship have changed. Comprising essays, manifestos, and detailed analyses by scholars and artists, it is a handbook on the aesthetics of digital poetry, which presents the current state of the discourse.
Equally interested in what is and what could be, Cybertext Poetics combines ludology and cybertext theory to solve persistent problems and introduce paradigm changes in the fields of literary theory, narratology, game studies, and digital media. The book first integrates theories of print and digital literature within a more comprehensive theory capable of coming to terms with the ever-widening media varieties of literary expression, and then expands narratology far beyond its current confines resulting in multiple new possibilities for both interactive and non-interactive narratives. By focusing on a cultural mode of expression that is formally, cognitively, affectively, socially, aesthetically, ethically and rhetorically different from narratives and stories, Cybertext Poetics constructs a ludological basis for comparative game studies, shows the importance of game studies to the understanding of digital media, and argues for a plurality of transmedial ecologies.
Since its initial publication, Critical Digital Studies has proven an indispensable guide to understanding digitally mediated culture. Bringing together the leading scholars in this growing field, internationally renowned scholars Arthur and Marilouise Kroker present an innovative and interdisciplinary survey of the relationship between humanity and technology. The reader offers a study of our digital future, a means of understanding the world with new analytic tools and means of communication that are defining the twenty-first century. The second edition includes new essays on the impact of social networking technologies and new media. A new section – “New Digital Media” – presents important, new articles on topics including hacktivism in the age of digital power and the relationship between gaming and capitalism. The extraordinary range and depth of the first edition has been maintained in this new edition. Critical Digital Studies will continue to provide the leading edge to readers wanting to understand the complex intersection of digital culture and human knowledge.
Rewritten versions of contributions to an international conference held at the University of Antwerp in May 1992. Starting point for the conference was the vagueness of the very terms 'modernism' and 'modernity'. In the first section a group of comparatists address the theoretical and terminological problems of modernism. Practical readings of modernist writers; discussions of different modernist movements; and, the work of critics who have contributed to debates about modernism make up the second section. The third section looks at the problem of modernism from an interartistic and interdisciplinary perspective.
We live in an age where language and screens continue to collide for creative purposes, giving rise to new forms of digital literatures and literary video games. Towards a Digital Poetics explores this relationship between word and computer, querying what it is that makes contemporary fictions like Dear Esther and All the Delicate Duplicates—both ludic and literary—different from their print-based predecessors.
The reception of the American avant-garde poet, playwright, art collector and salon hostess Gertrude Stein (1874-1946) has to a wide extent taken place in an aesthetic context prior to her work’s academic and hermeneutic canonization. This thesis is in part a mapping of this transmedia reception as it is played out in a North American context in the period from her death and until today, and in part an account of Stein’s particular collaborative poetics, through which her work invites such a reception. Furthermore, the thesis maintains that we in a contemporary context are experiencing a still increasing receptivity towards Stein’s oeuvre, that seems more relevant today than ever before. These circumstances, the thesis illuminates and discusses via a media theoretical framework, where Stein’s own work, as well as its aesthetic reception is considered as embedded in a complex media ecology. Media ecology is here conceived as a decentralized, networked approach to aesthetic phenomena, which is able to contain many types of agents and materialities. The media ecology of an artwork is thus potentially made up by the entire network of processes, agents and materials that are relevant to its production, distribution and consumption and influences the subject positions available to the individual agents. Through Stein’s aesthetic reception it is possible to catch sight of important components that are active in the media ecology but often neglected or considered subordinated to text-internal features. These include the material interface of the medium in question, the aestheticized persona of the artist and infrastructures such as the salon, which affect how and to whom the work and its meanings are distributed. The thesis also traces a number of parallels between the media situation of Stein in the beginning of the 20th century and the digital media situation at the verge of the 21st that suggest both explanations for and implications of her increasing contemporary relevance. Receptionen av den amerikanska avantgardepoeten, dramatiken, konstsamlaren och salongsvärdinnan Gertrude Stein (1874-1946) har till stor del ägt rum i konstnärliga sammanhang innan hennes verk kommit att kanoniseras genom akademiska studier och tolkningar. Denna avhandling är dels en kartläggning av denna transmediala reception, såsom den utspelat sig i en nordamerikansk kontext under perioden från Steins död fram till idag, dels en redogörelse för hennes specifika samarbetspoetik som uppmuntrat till en sådan reception. Dessutom hävdar avhandlingen att vi i en samtida kontext upplever en stadigt växande mottaglighet för Steins verk, som tycks mer aktuellt idag än någonsin tidigare. Dessa omständigheter belyser och förklarar avhandlingen med hjälp av ett medieteoretiskt ramverk, där både Steins egna arbeten och deras konstnärliga reception betraktas som inbäddade i en komplex medieekologi. Medieekologi förstås här som en decentraliserande, nätverksorienterad tillgång till estetiska fenomen, inom vilken många typer av aktörer och materialiteter kan ingå. Ett verks medieekologi utgörs således, potentiellt, av hela det nätverk av processer, agenter och material som är relevanta för produktionen, distributionen och konsumtionen av verket i fråga, och påverkar utformningen av de subjektspositioner som är tillgängliga för de enskilda aktörerna. Genom den konstnärliga receptionen av Stein är det möjligt att få syn på viktiga komponenter som är verksamma i medieekologin, men som ofta försummas eller betraktas som underordnade textinterna faktorer, till exempel. Till dessa komponenter hör mediets materiella gränssnitt, författarens estetiserade persona och infrastrukturer såsom salongen, som påverkar hur och till vem verket och dess betydelser distribueras. Avhandlingen följer också en räcka paralleller mellan Steins mediesituation i 1900-talets början och den digitala mediesituation som präglar 2000-talets inledning, vilka kan bistå med både förklaringar och implikationer av Steins växande aktualitet.