digital poetics

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.

Do you ♥ e-poetry? Leonardo Flores certainly does. Flores, an associate professor of English at the University of Puerto Rico, Mayagüez, is the driving force behind the I ♥ E-Poetry project, an online scholarly compendium of electronic poetry. E-poetry is part of a growing genre of creative writing known as "electronic literature" or "e-lit." According to the Electronic Literature Organization, e-lit includes literary texts that embrace the affordances of computing or networked technologies in their composition. Examples include hypertext fiction, poetry bots, and literature composed collaboratively online.

Last week in The New York Times, Shelley Podolny considered the growing amount of computer-generated text that appears online. With the dystopian title "If an Algorithm Wrote This, How Would You Even Know?" Podolny describes a study by media scholar Christer Clerwell that suggests readers may not be able to distinguish between computer- or human-generated text. Such a phenomenon speaks to growing sophistication of natural language processing software and finely-tuned algorithms that can produce humanoid content.

Kimchi, a Korean side dish of fermented vegetables and spices, is perhaps best known as a polarizing condiment, engendering love, hatred, and YouTube videos of screaming children trying it for the first time. It is also serves as inspiration for the work of Margaret Rhee, a feminist new media artist and scholar. In The Kimchi Poetry Project, she asks, "What feminist methods, histories, and stories can we unearth and create through the poetics of kimchi?" (Rhee, "Installation - The Kimchi Poetry Project"). Rhee's innovative work explores the possibilities at the intersections of kimchi, tweets, and poetry.

After publishing her poem "A Feminist History of Kimchi" in the anthology Conversations at the Wartime Cafe (2011), Rhee was invited to a poetry reading where she asked the audience to make "kimchi poetry" with her. The Kimchi Poetry Project was born. Rhee's participatory poetry venture includes a series of multimedia installations and objects.

For many Internet users, social media constitutes the extent of their regular textual encounters. As a result, Web 2.0 platforms are increasingly becoming spaces that facilitate expressions of imagination and the processing of human experience. Hashtags on Twitter - # and word combinations that link 140-character messages called tweets - trend regularly on the site, reflecting the most popular topics identified by the platform’s algorithm. Those who use hashtags may tweet for a range of reasons, from participating in flash-in-the-pan controversies over the color of a dress to weaponized hashtags linked to ongoing protest movements like #BlackLivesMatter. Are tweets simply expressions of the Internet's id or might we find among them some of Percy Bysshe Shelley’s “unacknowledged legislators of the world”— poets?