Digital Poem Research Articles

Nine Billion Branches: A Digital Poem by Jason Nelson—the Home of Objects

Nine Billion Branches: A Digital Poem by Jason Nelson—the Home of Objects

Entelechy of the Emanational Form: Zenon Fajfer’s Poems of Potentiality

Zenon Fajfer’s introduced into poetry an original, interactive form called “the emanational poem,” in which the multilevel acrostic is generative of simultaneously coexisting dimensions of text. The poet has used it in several of his works to render simultaneity, visibility and invisibility, potentiality and actuality. The article discusses the emanational form in view of Aristotle’s concept of entelechy. Exploring affordances of the electronic and printed media, the author explicates how the potentiality for mobility and intertextuality can be actualised in Fajfer’s “Ars Poetica,” Spoglądając Przez Ozo- nową Dziurę, and Powieki, drawing attention to the role of the reader in this process. She mentions the aporetic tension between the principle of Aristotelian entelechy and postmodern concept of intertextuality, also referencing the relevance of Ned Rossiter’s network theory to the interpretation of Fajfer’s work. Focusing on Powieki, a multimodal cycle of emanational poems, published as a compound of the material book and the digital poems in the CD, the author postulates, following Pisarski (2014) and Marecki (2018), that it is an entelechy of the hypertext. Moreover, this richly hyperlinked cycle of poems can be seen as a rewriting of the Orphean katabasis. It invites contem- plation of a complex, multidimensional space that should be explored in “slow,” or close reading, which defies typical expectations of electronic literature audiences. Finally, it is argued that Fajfer’s print-born digital hypertexts activate potentialities entailed in the matter(iality) of the writing in both media, the old and the new.

Performing Iran online: digital poetics and feminist activism in the woman life freedom movement

ABSTRACT This essay explores the pivotal transition in Iranian feminist activism through ‘Baraye’, a digital poem collectively written by Iranian users on Twitter during the Woman Life Freedom (WLF) movement, linked to the #MahsaAmini trend launched in September 2022. Initially sparked by tweets featuring the hashtag #MahsaAmini, this trend quickly evolved into a powerful form of digital activism, articulating widespread grievances and aspirations. Shervin Hajipour’s viral song ‘Baraye’, composed from these tweets, amplified the movement’s message and garnered international recognition, including at the Grammy Awards. As a part of the Feminist Media Activism in Transition special issue, this study highlights the relationships between social media and new forms of feminist activism, with ‘Baraye’ as an emblematic work of instapoetry that transcends geographical boundaries and fosters deep emotional and ideological connections among participants. The collective crafting of ‘Baraye’ by Iranians enabled suppressed voices, including marginalized ethnic, religious, and LGBTQIA+ communities, to express their demands and dissent. By employing digital humanities techniques to collect, curate, and analyse pertinent tweets, and drawing upon theories of performance studies, particularly Diana Taylor’s work, this research underscores this instapoem’s impact on Iranian feminist media activism and beyond. By looking at it as a performance, the work seeks to demonstrate how ‘Baraye’ blurs the line between physical presence and digital expression, marking a significant transitional moment in Iranian social movements. The essay aims to offer a different perspective on new modes of activism by examining ‘Baraye’ from the perspectives of performance and new media studies, emphasizing the role of digital platforms in fostering poetic digital activism and offering fresh insights into the interplay between technology and feminist movements in Iran.

Digital poesis impulse: A methodology of creative coding with GPT as co-pilot

Any poem can be digitalised, but under what conditions might the poet desire a digital incarnation of their creative output? And for a writer with hobbyist coding skills, might ChatGPT be a suitable partner for creative coding? Faced with three digital poetry commissions and the terror of the blank screen, the author explores questions of poetry and desire, artificial intelligence and authorship, and the tools which enable her digital writing practice. As Irina Paperno (2004) notes, “scholars do not know what to do with diaries” (p. 565). Where the author’s research asks what can be done with journals-as-archives the experimental, multimodal approach of digital poesis breaks open the notion that static containers such as memoir or biography are the best ways into literary archives. The author discovers the coding container as a playful place to enact modes of relationality between text and medium, mother and daughter, archive and archon. Much like Winnicott’s (2005) mother-child play space enables an infant to test the limits of their inner world and external reality, a source-code editor offers unlimited combinatory potential for enacting a relational and material archival response. Through exploring practice-based research, this article tracks the methodology of the three digital poems from ideation to execution and publication, offering exegetical insights along with a detailed accounting of the tools and processes used in the making.

4차산업혁명이 낳은 융합예술 디카시의 메타포에 관한 연구

As the origin theory of Dicash, I place it in the theory of the yin and yang of the East. Therefore, while the philosophical ideas expressed in Dicash are based on the idea of Cheonji, the idea of Cheonji was verified by limiting it to the collection of Dicapoem published within three years. “Dicapoem a combination of the digital camera Digital pixel, picture element and Poem, is an independent genre of competitive fusion art that overtakes Photo Poem and walks the cutting edge of the Fourth Industrial Revolution. It has been listed as a new literary term in the Korean language spring of the National Institute of the Korean Language.” In the digital age, poetry is accepted in various ways from writing art to video language, but it can be said that decasi is unique and representative in writing poetry using digital cameras as a tool. Photographic poetry has a history of about 200 years. Dicapoem an independent genre of convergent art, has a history of over 20 years. The founder of decasi was Professor Lee Sang-ok. In addition, since the publication of the first digital poetry collection Lee Sang-ok's 『Goseonggado (Hall of Literature, 2004』 in 2004, discussions on decasi have spread not only in Korea, but also in Asia and around the world. Conventional photographic poetry is an analog method that combines photography and poetry. On the other hand, decasi is a digital method that combines digital cameras and poetry. The text was a collection of digital poems by three people, Lee Gyeong-soon, Son Gye-guk, and Kim Sun-mi. Each of their decasi collections was made in connection with the Cheon In-ji ideology. I described with an emphasis on the scalability of Dicapoem. As digital literature, Dicapoem can be said to be a gift of God born by the digital revolution, and it can be confirmed that Dicapoem expresses the metaphor of 'the sky', 'people' and 'the land'.

Daten, Atmosphären, Texte – Künstlerische Erfahrungsräume und Virtualisierungen des Literarischen

Daten, Atmosphären, Texte<b> – Künstlerische Erfahrungsräume und Virtualisierungen des Literarischen</b>

The digital poem between the poles of creativity and reception

Talking about digital text or digital literature is a controversial conversation because of the intellectual differences and conflicts that the topic carries, and a great controversy taking place in the critical and literary arena. Which carries in itself the features and characteristics of digital technology, to reveal a new aspect of creative experimentation and identification between what is technological and what is literary, despite the distance of the two fields from each other, but the digital creator was able to produce a hybrid text that bears the characteristics of the two fields, and this text in turn is directed towards The digital receiver who possesses a privacy comparable to the privacy of the creator and the text together, which opens a window for us towards worlds and labyrinths that transcend all impossible and transcend all limits

ROTEIRO CRIATIVO DO POEMA DIGITAL PRONOMBRES

The article describes in detail the process of creating the digital poem Pronombres, composed by Rodolfo Mata and Carole Chargueron, between February and June 2018. It begins with a reflection on the mixture of order and disorder in the creative process, the possibilities of registering it in a structured and coherent narrative and the degree of veracity that such narrative can achieve, considering that it is written a posteriori. It proposes several parallels with the essay “The Philosophy of Composition” (1846), written by Edgar Allan Poe to explain the origins of his poem “The Raven”, and announces that it will follow the same technique, trying to trace a “reverse itinerary” (in the words of Haroldo de Campos). Each author developed in his own area, Rodolfo Mata in poetry and Carole Chargueron in electroacoustic music. The assembly in HTML5 was done by Rodolfo Mata and around 40 progressive versions were produced on which both worked together. Multimedia creation is a complex process in which different elements (image, sound, movement), and different skills, resources and creators converge. This interaction mainly produces three phenomena —synergy, interference and modulation— which are explained. The beginning of Pronombres was the visual poem “Comunidad poética” (2015) by Rodolfo Mata, created from a photograph of the cabin of a commercial plane, in which several screens appear placed on the backs of the seats and in other parts of the plane. Editing the photograph, the author wrote several personal pronouns on these screens, generating a poetic tension among them, to question the isolation suffered by the passengers during the flight. In this way, the idea of community would be restored and the role of pronouns as “persons” would be staged, that is, “masks” in the Latin sense of the term “persona”. The article comments on the origins of three other visual poems by the author, with regard to the precedence of the image or the word and their articulation. Once Rodolfo Mata undertook the assembly of the interactive digital poem, the need to integrate the sound dimension appeared. For this Carole Chargueron decided to use the genre soundscape, of which a brief review is offered. The dynamics presented by the digital poem consist of a series of sound tracks and a set of animations in which the texts of the pronouns “dance” and are transformed in different ways as parts of poetic texts. The article explains the network of relationships between these elements and some of the metaphorical motivations that support them, which come from different areas: the regional diversity of Spanish, gender as a grammatical and cultural phenomenon, and identity. The article emphasizes team work and offers links to two Youtube videos and a list of audio tracks on SoundCloud.

Dali-dali at dekonstruksyon: Poetika at politika sa panahon ng pinagmamadaling pagtula

Abstract This paper studies the digital modes of producing and distributing Philippine poetry during the presidencies of Gloria Macapagal Arroyo, Benigno Aquino III, and Rodrigo Duterte. The corpus used for this study are various poems created and dispensed through online generators, single message service (SMS) or text messaging, and social media, Twitter in particular. Democratic access to these new technologies has given literary producers newer platforms to exercise creativity and to interrogate the times. Poetry production via digital platforms is both an exploration of the genre and of political praxis. This paper studies select digital poems traversing what Leonardo Dianzon expounded as the cultural traditions of panunudyo (parody) and panunuya (irony or sarcasm). Further, this paper explores how poets in this digital age have variably contributed to the literary continuum and protest tradition of the Propaganda Movement’s Marcelo H. Del Pilar.

Audio-Visual Poetry A Semiotic-Cultural Reading in Interactive Digital Poem (Vision of Hope)

This research aims at reading the Saudi poet Mohamed Habibi’s interactive digital poem, ‘Vision of Hope’, through the digital semiotic-cultural approach, trying to depict the external and internal text relationships, identifying the type of rhetoric to which the smart movement of the image and the multifaceted diversity of voices have added, and recognizing the cultural dimension of depicting a human being as a thing. What adds to the importance of this research is pinpointing the role of the technical syntheses of figurative language in the poem, ‘Vision of Hope’ that served the poetic text to become animatic, and served the non-verbal texts to become poetic. The research concludes that though the poem is technically simple because of the absence of hypertext, it is significantly rich because of the existence of the technical synthesis that has contributed in giving each of its component the advantage of the other. In addition, although the poet follows his admiration of the beauty of the three musical compositions of Nusseir Shammah, some of them were not well employed. The poet’s creative experience of interactive digital poetry is promising and deserves to be supported and sustained.

الشعر الرقمي في مرحلة ما بعد الجائحة: دراسة تحليلية لقصيدتين مختارتين من وسائل التواصل الإجتماعي کمثالين Pandemic Digital Poetry: An Analytical Study of Two Selected Social Media Poems as Examples

الملخص : ظهر الشعر الرقمي أو ما يعرف بالشعر الإلکتروني – کأحد فروع الأدب الرقمي أو الإلکتروني – منذ منتصف القرن العشرين وواصل انتشاره السريع حتى وقتنا الحالي، واعتمد في ذلک على تقنية أجهزة الحاسوب والشبکة العنکبوتية و شبکات الهواتف الذکية و منصات التواصل الإجتماعي المختلفة. واسهمت التقنية الحديثة في مزج مؤثرات صوتية أو مرئية أو کلاهما للقصائد، فأضفت عناصر من الإبهار والجمال عليها. وراح الشعر بقيمته الجمالية المتأصلة فيه والمجبول عليها يکسو تلک الوسائل التکنولوجية بحلة من الجمال المبهر، فنشأت علاقة جمالية تبادلية بينهما. ولکن ککل جديد: انقسم نقاد ذلک النوع من الشعر ما بين مؤيد و معارض أو مادح و قادح وهذا ما أبرزته الورقة البحثية کأحد أهدافها. ثم فاجأت جائحة کورونا العالم، کأسوأ کارثة عالمية منذ عقود طويلة, ملقية عليه بظلال کئيبة من الموت والمعاناة و الخسائر المادية. ولم تجد الحکومات بد من فرض الصحي والإغلاق الکامل، فأصيبت کافة مظاهر الحياة بالشلل التام, و عانى الجميع من الإکتئاب و العزلة و افتقاد ذويهم. فأتى الشعر الرقمي کعلاج ناجع لتلک المشاعر السلبية والآثار النفسية المدمرة، وزادت قيمته الإنسانية و الأدبية. ومن هنا نبع أهم أهداف الورقة البحثية ألا وهو إبراز دور الشعر الرقمي المتداول عبر منصات التواصل الإجتماعي في فترة مابعد جائحة کوفيد-19 أو ما يعرف بفيروس کورونا. و تستشهد عن طريق دراسة تحليلية بقصيدتي: السطور الأولى للإيميلات التي تلقيتها في الحجر و الإغلاق لجسيکا سالفيا و ريتشارد هندريک على التوالي کأمثلة، حيث نشرت الأولى على موقع تويتر و الثانية على الفيسبوک و حققتا انتشارا واسعا. عالجت قصيدة السطور الأولى... لسالفيا العديد من مظاهر وعواقب کارثة کورونا، بينما تناول هندريک في قصيدته الإغلاق بعض الجوانب الإيجابية للأزمة وبعض الحلول والإستراتيجيات لمواجهتها فجاءت قصيدته باعثة على الأمل داعية للتکافل الإنساني. وبذلک تفتح الورقة البحثية المجال لإجراء دراسات مماثلة في هذا النوع من الشعر الحديث. Abstract: Digital poetry or electronic poetry (e-poetry) – as a branch of digital literature or electronic literature (e-lit) - has sprung and spread during the twentieth and the twenty first centuries. It has depended on the technology of computers, WWW (World Wide Web), smart phones’ networks, and the different social media platforms in composing, producing and disseminating the digital poems. Sound and/or image may be merged to produce these poems. Both the digital poetry and the internet have added to the aesthetic qualities of each other. Posting or publishing the digital poems on the different social media platforms has advantages and disadvantages. Yet, the value of the digital poetry has increased worldwide during the last year because of the quarantine imposed due to the dangerous wide spread of Covid-19 known as Corona virus pandemic. Online digital social media poems have expressed clearly the social, economic, psychological and political consequences of this crisis. Social media platforms have facilitated online poets/poets and/or poets/audience meetings and symposiums. The two poems: “First lines of emails I’ve received while quarantining” and “Lockdown” for Jessica Salfia and Richard Hendrick successively are discussed as examples. Salfia’s poem was posted or published on Twitter, while Hendrick’s on FaceBook. Both of them have been read, liked and shared widely achieving a notable success. Salfia’s poem deals with some of the devastating aftermaths of the crisis of Covid-19 and some of the shared subjects between people during the quarantine. While, Hendrick’s tackles the positive sides of the crisis and suggests hopefully and optimistically some counteractions and strategies to overcome its horrible effects.

A Critique of Control and Black Boxes

This article analyzes Ian Hatcher’s online and kinetic poem “⌰ (Total Runout)” (2015) from a point of view of a critique of corporate and governmental black boxing, at the level of its code, text, visual output, sound, and live performance. The multimodal poem is part of the Drone Pilot suite, and it is presented in different versions: as a web-based work, sound piece, and performance. It remixes appropriated text from a WikiLeaked manual by the UK Ministry of Defence, essays on artificial intelligence, and Hatcher’s own text. The overall versions of the work, understood as variable events, boldly problematize communication and cognitive processes in networks—whether they are implemented in computer systems by secret agencies or corporations. Hatcher’s critique of black boxes entails re-creating issues of security, control and surveillance, as digital systems are increasingly paving the way for less privacy and less knowledge about their inner workings. As a result, the poem questions the essence of privacy, redaction, and systemic violence, when access is a privileged asset of agents with security clearances or those with a deep knowledge of programming. This article presents “⌰ (Total Runout)” in the scope of the poet’s aesthetic program. Then, it analyzes its Web version’s interface and source code. The kinetic poem’s spatial and temporal dimensions are discussed via experiments that modify the source code. The methods here presented deform the poem’s temporal display, by means of modifications, or what are called in the article lit mods. Thus, the article proposes an approach for a more informed reading and understanding of digital kinetic poems, since they are ever-changing events. Finally, it locates the work’s aural and performative versions in a cultural and political context.

The Art of Machine Use Subversion in Digital Poetry

Howard Becker (1982) terms a cooperative network of people organized through and around joint knowledge and conventions of practice as an “art world”. A new “art world is born when it brings together people who never cooperated before to produce art based on and using conventions previously unknown or not exploited in that way” (310). This essay examines digital poetry art practice as an example of Becker’s type of novel, networked, and collaborative cultural activity. The diffusion of Internet technologies and the ubiquity of computing has allowed for the creation of many new art worlds, digital poetry being just one example. Furthermore, digital poetry art practice demonstrates a long history of machine use subversion, as we see technologies initially designed for other uses being repurposed to create digital poetry. In these cases, most consequentially to our thinking regarding digital poetry, what occurs is the process described by Becker: “the people who develop new art worlds participate in the broad currents of intellectual and expressive interest growing out of extant tradition and practice” (314). Although the digital poem is a distinct and unique literary artifact, digital poetry can be regarded as an ouroboric recursive practice that builds on the extant traditions of early experimentations with print, film, and video poetry as well as net art. Understanding how digital poetry operates as an art world allows us to legitimize and recognize the importance of digital culture and its impact on contemporary art and culture.

Four Guillemets

Four Guillemets Loss Pequeño Glazier (bio) Four Guillemets is comprised of four digital poems, each with an impulse-selected determinate print version which is sometimes delivered as a live performance. The project investigates the relationship between text and poetic structure by offering alternative experiences of each poem in print/static, performance, and digital environments. What follows is a brief description of the project (as well as how the print versions are digitally generated) and one possible print arrangement, which the author performed live on February 1, 2013. You can find a link to the full digital project, as well as video of the live poetry/dance performance of particular piece on the I/O section of Cream City Review's website (https://uwm.edu/creamcityreview/i-o/). Full generative digital project here: http://writing.upenn.edu/epc/authors/glazier/e-poetry/guillemets/ [End Page 110] READING NOTES: [1] The composition of Four Guillemets is structured as four "pages" (between front and back book "cover" screens). Each page refreshes at given intervals, generating fixed variants of each text. A button on the bottom of the screen also generates new (and sometimes repeat) iterations. This button allows you to accelerate the pace of the iterations. However, like time, the iterations cannot be delayed. [2] Each page has four main textual sections (with the middle two of these concatenated) plus an illustration. Each of the four sections on each page is itself constructed of four lines (each line generated from four strings). A displayed image is also selected from four variants. Each page is generated in the manner of the performance of a quartet, with each element itself drawn from four strings. The concatenated center text could also be called "stitched," like book signatures [3] The quaternary textual sections generate narratives that are connected in various semantic and logical manners. These may be narratively disruptive, grammatically continuous, non-relatively contiguous (self-contained in meaning), or paratactic (physically adjacent but open-ended in semantic connection). The narrative of Four Guillemets is immanent, that is, not only drawn from the text that is displayed, but it is articulated via underlying structure; it consists of both that which is present and that which is not displayed [4] The tetrad framing of Four Guillemets both collapses and foregrounds gaps between iterations, locations where "meaning" meets structure. Here, what is not said is as integral to the formulation as what is said. It may be compared to any composition, "an arrangement in a system to pointing," in Gertrude Stein's words. Meaning emerges through the difference between iterations. [End Page 111] «guillemets» From the digital poem, "Four Guillemets" | Performed at Digital Poetry & Dance, Feb. 1, 2013 PORTCULLUS On esplanade—a fine way to begin! On the one hand it's the equanimity of the middle way. The tranquility of water eases the reflection. It is artistic inspiration—the step, le pas, ye marble path Of close reading: film, text, and image—about close listening—close, with eyes, EAR, and heart. The syllable present at hand is the only syllable that is. As—where you are—there you are. BATTERY On black basalt rock. Not to let pile up but to let go. Plume of mist from undefinable ocean. Half Moon Battery. Victory of the echo over the voice—Castle Terrace and Old Town below. It's neither black nor white, always half-black and half-white. Silence, like the sea, is relative. A Value of what you hear and what's not here. Pleistocene flowered. Thimble Jellyfish. Shooting stars. Black shale is the dominant lithology; it contains lighter shales and interbedded limestone layers, Buddhist scrolls, willingness to be in the moment, drifting plankton thread the horizon line. Order o the Scots Leid. Each step counts. Here, there, 400 million years ago, sand petrels, wind patterns, Sleepy fleeting bears, bee landscapes, intratextual Baudelaire, fossil fragrances, scribbly gum. [End Page 112] THE WALL Floating garden scripts lily ponds in lush green vegetation. Onset of olfactory delirium through Grassmarket of elision. Argyll's Tower above characters at night—old City Wall. In Nevers ... In this way, wisteria, oxalis. Each vowel appears in one of two manners: long and short. Like...

The aesthetic of the digital poem: Learn in poem get out of the humming of the hull by AbdelMoneim AlAzraq

This study seeks to explain how the poet Abdel-Moneim Al-Azraquses digitization techniques to convey the poetic content to be expressein his poem " get out of the humming of the hull ", which is part of thedigital literature that created its own characteristics. During this study,the mechanisms adopted by the poet to convey the poetic meaning andto clarify his vision of non-existence. We studied the reading language(visual language formation), the visual image (image formation, colorand camel movement) and audio music. Among them and fused into Bohe poet adopted the technique of multimedia to express his sense loss in his material world. As the paper poem passed through theadoption of the spoken language, the digital poem passed through theadoption of digitization techniques, and each of the two types had theirown circumstances.&#x0D; &#x0D; &#x0D; &#x0D;

The Great Automatic Grammatizator: writing, labour, computers

What does it mean when we say that computers can ‘write’ and how are recent developments in neural networks and machine learning changing this capacity? This article examines the long-standing literary fear of authorship being replaced by machines while also interrogating the labour and credit implications that sit behind widely used structures of authorship in a technological age. The argument makes reference to one work of computer-generated writing – Johannes Helden & Hakan Jonson’s Evolution [2014] – and to one software paradigm (a character-based recurrent neural networks for language acquisition trained on the corpus of the journal Textual Practice). I here argue that unless we conceive more broadly of the criteria for ‘authorship’ as a labour function, and unless we take seriously the need to see textual production as social production, hybridized (but predominantly) machine identities will come to dominate a literary landscape.

Revisioning History: A Deconstructionist Reading of a Learner’s Multimodal Text, Revenge

&lt;p&gt;Recent interest in multimodality recognizes the integration of text and image in meaning-making as representing reality. It has also been argued that with the use of digital communication, the meanings of visual and verbal data can be easily manipulated rendering them unreliable. As such, a close and critical reading of the text is required to discover what is hidden, absent, or inconsistent with it. In a deconstruction of a multimodal digital composition of a poem that involves revisioning of history, this paper privileges the absences of cultural and historical texts to signify socio-political issues. An eclectic use of theoretical concepts on meaning-making, especially those proposed by Kress and van Leeuwen, Foucault and Baudrillard, constructs the discussion of the analysis. The digital poem entitled ‘Revenge’ is deconstructed to further discover such absence in the text. The findings reveal that language and images are used by the learner as a source of power to negotiate the boundaries of identity. It has also been discovered that the message in rhetoric and visuals complement each other to support the process of meaning-making.&lt;/p&gt;

Digital Poetry and Critical Discourse: A Network of Self-References?

This article emerges from macroanalysis of several works of critical writing in the field of digital poetry, which have been documented in the ELMCIP Knowledge Base. The problems addressed in this context are the self-referentiality exhibited by authors who are both practitioners and theoreticians, and the need for a wider selection of digital poems in critical discourse. The dataset consists of monographs and Ph.D. dissertations on digital poetry (1995-2015), which have been exported into visualization software. Macro and network analyses enable new debate concerning the outlined problems and new findings. My findings suggest that criticism in this domain is chiefly endogenous and that a limited number of poems is being canonized. Therefore, a meta-discourse perspective can pave the way for an external view of the field, concerning its epistemology and evolution. The dataset is available online for download and can be tested and reconsidered by other researchers.DOI: http://dx.doi.org/10.14195/2182-8830_4-1_6

To Archive or Not to Archive: The Resistant Potential of Digital Poetry

This essay addresses the much discussed problem of archiving digital poetry. Digital media are labile, and several writers of digital poetry are incorporating the media’s ephemerality into their poetics. Rather than rehash arguments that have been taking place within the field of digital media and digital poetics for years, I turn to the field of contemporary art curation and preservation, a field in which curators and archivists are struggling with the very immediate concerns, ethical and otherwise, related to archiving works that are made from ephemeral media. One particular digital poem that has recently broken, has recently become unreadable, is Talan Memmott’s Lexia to Perplexia. Memmott composed the poem in 2000, and he incorporated the poem’s inevitable obsolescence into the text of the poem itself. He has since refused to “fix” or “update” the poem, because he contends that that would make it something other than what it was intended to be. Rather, he is choosing to let the poem die because that is what the poem is supposed to do. This essay concludes with a discussion of the political implications of acknowledging the ephemerality of digital media, the resistant potential of the poem when its ephemerality is embraced, and some ways in which archivists can preserve the memory of the poem without necessarily preserving the poem itself.

Descategorizar e recategorizar a poiésis a partir do digital

In this interview, which is the first of the new section Conversations with Brazilian Digital Creators of Texto Digital , the writer and director of audiovisual and multimedia Alvaro Garcia Andrade tells us about his journey in printed poetry, in videopoetry and digital creation - a process that is intertwined with the history of multimedia and the emergence and evolution of digital media. In addition, he discusses some of his most important works, as the digital poems Fogo e Grao, and presents his work developed with designer and programmer Lucas Junqueira, in the creation of a free software for publishing digital works: the Managana.