In W. Mark Sutherland’s Code X (2002), a born-digital sound poetry machine that allows users to create their own sound poetry performances, a similar line is drawn between the work and a history of sound poetry, performance and installation art, and, to an extent, also concrete poetics. Despite the fact that, at its heart, Code […]
Prezi This paper originally presented at the Two Days of Canada Conference: “The Concept of Vancouver.” St. Catharine’s, ON, 13 October 2016. Last month at the conference as part of the launch of CWRC (the Canadian Writing Research Collaboratory) in Edmonton, I presented a paper on the state of Canadian Digital Poetics. Afterward, Lori Emerson […]
In 2016 with many decades of transmedial and digital poetics under our belt, we must now work to define a Canadian literature that has already turned digital.
This paper presents a Canadian digital poetics that has, with some exceptions, had its eye keenly on the past, and on print, rather than looking forward to the engaging and radical potentials of networked connectivity.
The visual concerns of Canadian digital poetics are heavily indebted to concrete poetry, especially as it was interpreted in the print medium by earlier Canadian practitioners like bpNichol or Steve McCafferey.
Its aural concerns are heavily indebted to sound poetry as it was interpreted by early Canadian practitioners like the Four Horsemen.
Where Canadian digital poetics do engage with locative or spatial concerns, these are frequently approached using mapping tech or other qualitative means met with the intensely personal, almost confessional, and highly affective intrusions.
And finally and most importantly, Canadian digital poetics has tended toward author-effacing conceptualism rather than the kind of reader engagement we see in other electronic literary communities in the US or Europe.
The following is adapted from a paper presented at ACCUTE Congress (18 May 2016, Calgary, AB). This post will examine the digital potentials for feminist and activist mapping by looking at the important electronic literature example of J.R. Carpenter’s in absentia. in absentia appropriates the now ubiquitous format of Google maps—using both the mapping and “street […]
This post is largely taken from the paper I delivered in Patrick Durgin’s “Artists Who Write Objects” seminar at SUNY Buffalo’s “Poetics: (The Next) 25 Years.” It is a substantial revision of my NeMLA paper. This paper began, as my title clearly indicates, as an attempt to track the influence of bpNichol’s pioneering work of digital […]