Along with the growth of executable code poetry, code poets are writing poems that draw on the aesthetic, formal, and visual dimensions of computer code without focusing on the executability of the code itself. The work of Mez Breeze, is one such example. Breeze is an Australian net.artist who uses the internet as a primary medium for her work. Her digital multimedia work combines sound, image, text, and code, and her writing includes electronic literature and code poems.
In recent years, growing interest has emerged in the relationship between poetry and computer code. A higher brow version of ASCII art, code poems draw on programming languages like Java or C++ for their formal inspiration. Since 2013, Stanford University has been running code poetry slams to explore the poetic potential of code. Participants in these competitions have explored the broadest definitions of code poetry.
Dear Reader, open the pages of Between Page and Screen. Nothing but elegantly simple AR (augmented reality) codes. But then you point your browser (and here, Reader, I think of you, too, as browser) at the book’s website and hold the book within range of your computer’s webcam.
Where is the text? The text is a (g)host.
In Amaranth Borsuk & Brad Bouse's Between Page and Screen, the text literally hovers between page and screen. But of course, this, too, isn’t quite true. It only appears to appear in the virtual air between the reader and the website.
Digital artist Roderick Coover (Temple University), e-poet Nick Montfort (MIT) and e-fiction writer Scott Rettberg (University of Bergen) present an evening of works created through intercontinental collaboration and across media forms. Coover and Montfort will present Currency, a series of 60 second video poems created through writing and image-making constraints and filmed in Puerto Rico, Switzerland, London, Brooklyn and Philadelphia. Montfort and Rettberg will read from Implementation, a novel published on stickers, stuck and photographed around the world; and, Coover and Rettberg will premiere works from the Norwegian Trilogy, a set of video narratives concerning legend, love, plague, volcanic dust and a great flood.
On November 1, starting at 6 PM eastern time, click here and view the live video stream of this event. Or attend in person at 3805 Locust Walk, Philadelphia.
Listen here to an audio announcement about this event.
For most of us, our first act in life is a speech act. We are born, we inhale, and then some of us sneeze, but most of us scream. For the next few months we make sounds, which we’re repeatedly told are letters. Somehow a song called The Alphabet gets stuck in our head. We can’t stop humming it. Eventually someone hands us a pen.
Viennese poet, programmer, performer, musician, composer, lecturer and researcher Jörg Piringer works operate in the moments human voice, machine language and letter forms meet.
Piringer uses his voice as an interface and as a medium. In his electronic visual sound poetry performance frikativ, Piringer generates visual sound poetry in real-time by speaking and vocalizing into a microphone. Fricatives are audible frictions, consonant sounds produced by forcing breath through a narrow, constricted, or partially obstructed channel. In frikativ, the channel of the vocal tract is appended to that of the microphone, which is further extended by cables to a computer wherein live and pre-recorded voice sounds are modified through signal processors and samplers. Piringer’s custom software then analyzes these sounds to create animated abstract visual text-compositions.
Through a long, ongoing, iterative, and intrinsically performative writing process, Piringer has created a massive custom-written computer program with which he builds his performance works. Similar to the way one game engine can be used to create a wide range of different games, Piringer can now drawn on his own code base to create new behavioural logic sets for each new performance.
1. Al Filreis, "Sounds at an Impasse," Wallace Stevens Journal, special sound issue edited by Natalie Gerber, Spring 2009, pp. 16-23. [link]
2. Al Filreis, "Kinetic Is as Kinetic Does: On the Institutionalization of Digital Poetry," in New Media Poetics: Contexts, Technotexts, and Theories, ed. Adelaide Morris and Thomas Swiss (Cambridge: MIT Press, 2006), pp. 123-140.