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391 Friedrich W. Block How to Construct the Genre of Digital Poetry A User Manual 1 Conceiving “Genre” “Beyond Genre: Transformations of Narrative, Poetic, and Dramatic Struc- tures”—my reading of the title of this section implies two theses: Firstly, that we can observe transformations of traditional genre structures in literary works with digital technology. Secondly, that this leads beyond a conventional theo- retical concept of “literary genre.” The triad formula “poetic-epic-dramatic” may indicate a classical, tradi- tional, not to say outdated

Geschichte, Strukturen und Ästhetik einer neuen Mediengattung
Series: machina, 9

207 Janez Strehovec Alphabet on the Move Digital Poetry and the Realm of Language Digital poetry is an umbrella term which for the flexible purpose of identifica- tion often encompasses various multi-media projects at the intersection of digital textuality, hyperpoetry, experimental writing in digital media, net art, software-controlled electronic text-based installation art, text generators, tex- tual software art (code poetry), and text-based computer games with elements generated by the author’s very personal approach to the textual material. Some

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-Intentionalization Hermeneutics, Multimodality and Corporeality in Hypertext, Hypermedia and Cybertext....................................................................................145 Alexandra Saemmer Digital Literature—A Question of Style ........................................................163 María Goicoechea The Reader in Cyberspace In Search of Digital Literature in Spain .............................................................. 183 Janez Strehovec Alphabet on the Move Digital Poetry and the Realm of Language......................................................... 207

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Generative Literary Installation in Urban Space .............. 331 Laura Borràs Castanyer and Juan B. Gutiérrez The Global Poetic System A System of Poetic Positioning............................................................................ 345 Part Two Beyond Genre: Perspectives of Literariness in Computer-Based Media Peter Gendolla “No Preexistent World” On “Natural” and “Artificial” Forms of Poetry ................................................ 365 Friedrich W. Block How to Construct the Genre of Digital Poetry A User Manual

digital poetry and since 2000 for the Kasseler Komik-Kolloquium. His research focuses on contemporary literature, language art and humor. Block is co-editor of the Kulturen des Komischen series. His books include Beobachtung des “ICH” (1999) and p0es1s: The Aesthetics of Digital Poetry (2004, co-editor). He has recently edited Komik—Medien—Gender (2006). Philippe Bootz is Assistant Professor of Information and Communication at the University of Paris 8. He is also head of publication of the review Regards croi- sés/Crossed looks and publisher of the review

179 Anna Katharina Schaffner From Concrete to Digital The Reconceptualization of Poetic Space 1 Digital Signifiers and the Concrete Trajectory It has become a commonplace in the digital discourse to assign digital poetry to the wider trajectory of avant-garde poetry, and to consider it as a third stage, a continuation and further development of a tradition which originated in the orbit of the historical and the neo-avant-garde. Friedrich W. Block; Roberto Simanowski; Christiane Heibach; and Loss P. Glazier, amongst others, point out that most vital

of his installation Text Curtain on the book cover. Providence, RI and Siegen, September 2009 Roberto Simanowski, Jörgen Schäfer and Peter Gendolla Works Cited Aarseth, Espen J. Cybertext: Perspectives on Ergodic Literature. Baltimore: Johns Hopkins UP, 1997. Barrett, Edward, ed. Sociomedia: Multimedia, Hypermedia, and the Social Construction of Knowledge. Cambridge, MA: MIT P, 1992. Preface 11 Block, Friedrich W., Christiane Heibach and Karin Wenz, eds. p0es1s: The Aes- thetics of Digital Poetry. Ostfildern: Hatje-Cantz, 2004. Bolter, Jay David. Writing

hypertext combines text, music, photographs, videos, and a computer game as well as Karin Wenz | Digital Media@Maastricht University 293 static, dynamic, and generated text. The multi- and intermedial possibilities hy- pertext offers are used fully. Other genres introduced are digital poetry, MUDs, interactive drama, in- stallations and the cave, and digital performances. Even though the distinction following traditional literary genre as well as categories based on technical con- ditions is problematic, they are used to help students to become familiarized with

entsprechenden Kataloge bzw. Begleitpublikationen: Söke Dinkla (Hg.): Interact! Schlüsselwerke interaktiver Kunst, Ostfildern 1997; Bernd Scheffer (Hg.): Schrift und Bild in Bewegung, München 2000; Friedrich W. Block, Christiane Heibach, Karin Wenz (Hg.): p0es1s. Digitale Poesie / Digital Poetry, Ostfildern 2004. 3  ‹Medienkunst› wird hier in Abgrenzung von Film- oder Videoarbeiten, die nicht installativ auftreten, verwendet und be- zeichnet alle Installationen, die mit Film, Video und / oder digitalen Medien arbeiten. CHRISTIANE HEIBACH ZfM22_innen_05.indd