Conclusion Part Four: Moving Forward; or, How to Print the Internet

As per Melissa Dalgliesh’s request in her comments on my second conclusion post, I have decided to end the digital portion of my project with some discussion about how this blog will be transformed into a print-based dissertation that I will defend to complete the requirements for my doctoral degree. I do this for twoContinue reading “Conclusion Part Four: Moving Forward; or, How to Print the Internet”

Conclusion Part Three: Postanarchism and the Digital

Does this mean that a postanarchist literary theory is best suited to study digital poetics? I am hesitant to go this far. But, what it does mean is that postanarchism is a political and literary theory bound to its sociohistorical context, and in this way it must embrace the digital in a way that HakimContinue reading “Conclusion Part Three: Postanarchism and the Digital”

Conclusion Part Two: What Can We Learn from Digital Poetics?

What I want to add to a postanarchist literary theory, then, is that it must embrace all work as containing the potentials and the limitations of a digital poetics. This is probably a very controversial argument, but one that has its roots in studies of digital poetry. As C.T. Funkhouser illustrates in his seminal work,Continue reading “Conclusion Part Two: What Can We Learn from Digital Poetics?”

the tapeworm foundry as (mal)content

In this plateau, I would like to characterize the tapeworm foundry as “(mal)content,” a more or less throwaway term that Wershler uses in his exchange on the poetry website, Circulars, with fellow poet and digital humanist Brian Kim Stefans for the anthology New Media Poetics: Contexts, Technotexts, and Theories. Before I get into what exactlyContinue reading “the tapeworm foundry as (mal)content”

Handwriting the tapeworm foundry

I end the plateaus-proper with a couple of posts on another wildly popular text of conceptual poetics, Darren Wershler’s (who at the time published under the name Darren Wershler-Henry) the tapeworm foundry (2000), a book I have personally enjoyed a great deal since discovering it many years ago. While I had always planned on endingContinue reading “Handwriting the tapeworm foundry”

Why Do We Keep Buying It?: Looking at the Reader of _Eunoia_

If my first plateau on Eunoia tended to focus on its authorship, then I’d like to spend this plateau looking carefully at the ways in which this text interacts with its readers. Eunoia is a particularly interesting example to look at these issues in that, despite its positioning as a radically experimental text, the bookContinue reading “Why Do We Keep Buying It?: Looking at the Reader of _Eunoia_”

Sisyphus Shrugged: The Poetics of Work in Eunoia

To begin talking about Christian Bök’s landmark text, Eunoia, I would like to return to a tactic I used primarily in my discussions of John Cage and Jackson Mac Low by looking primarily at the process of the work’s production. What I would like to argue here is that while Cage’s Cunningham mesostics and MacContinue reading “Sisyphus Shrugged: The Poetics of Work in Eunoia”