A fair amount of contemporary writing and art would benefit from media-historical analysis. What media at what time made this work possible? What media are brought together in this work? When we want to analyze form in the contemporary, are we not sometimes talking about technical supports, the bridgings between various media the work relies on?
Alejandro Crawford practices poetry at one of its most experimental edges, where it crosses with and benefits from the special capacities of computing. Crawford has done impressive work already in both fields; in 2007 he won a Fulbright and moved to Lisbon, Portugal where he had been commissioned to perform his operation “transmutilation” working, in part, with Orpheu, the magazine published by Fernando Pessoa and friends. Crawford’s radically recut remix based in part on poems from Orpheu is titled Morpheu (BlazeVox 2010). In 2009 Crawford moved to NYC to study in the Interactive Telecommunications Program at NYU Tisch. His ongoing work with electronic communications media has expanded his arsenal of poetic technique to include things like video and sound-mixing and the reappropriation of video game hardware to run text-manipulating algorithms. But what he does is not only technically cutting edge, it's weird and funny and fun.
“History works through hindsight; and the spectacles of hindsight are tinted with irony. The model of art versus disorder was renovated early in the Industrial Revolution in the service of a Romantic idea: the construction of a role for the author as a unique creative presence rescuing spiritual value from chaos — the aristocracy were dead, God had fled, and Nature was covered with factories — and whose job it was to certify the value of a literary work on behalf of its consumers, the bourgeoisie.