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"It's a slippery screen". Contemporary poetry and new media
The conference is open to all academics working in the field. Location: Department of Modern Languages and Cultures, University of Genoa, Italy Date: 5-6 September 2019 This conference aims to explore the connections and relationships between literature and the screen, from the pre-cinematic age to the era of television and new digital technologies. A cross-media approach, aimed at understanding the reciprocal influences between these various artistic forms, as seen from the point of view of techniques of representation, theoretical exchanges and the circulation of works, will shed new light on ideas in, and theories of, both literature and the cinema. The official language of the conference is English. Keynote speakers: Prof Laura Marcus and Prof Nikolaj Lübecker, University of Oxford. This will be the opening event of a series co-organised by the University of Genoa and the University of Oxford. Please send an abstract (max. 250 words) and a short bio (max. 50 words) in a PDF attachment to: oxford.genoa.conference.2019@gmail.com Proposals should include your name, university affiliation (if applicable), academic status, and the title of your paper. Papers should not exceed 20 minutes. The deadline for abstract submissions has been extended to 30th June 2019. Notification of acceptance will be communicated on 15th July 2019. Facebook event: https://www.facebook.com/events/2238637746401362/
2019 •
This paper concerns itself with the merits of poetics in an age where mass media and digital technology reign–specifically, how poetics informs the very theory of the medium of digitally-produced art, and how the poetic medium is constantly evolving and must then find new vehicles of expression in developing forms. It will be this paper’s position that the music video possesses the truest possibility of the marriage of literature and film practice: the language of the poem-turned-song, rendered in key elements of film, will afford a “new” lyricism consonant with postmodern thought. Three texts chosen here for analysis are in fact poetic interpretations, and which seem to make establishing the relationship between poetry and digital film more conspicuous: "End to the Full Moon," "Fragments of the Moon," and "Soft Night." The first was released as a music video (launched through the MTV™ channel) in 2004 to promote Palanca Award-Winning Poet Nerisa del Carmen Guevara's first anthology, Reaching Destination: Poems and the Search for Home, with an accompanying audio CD of songs interpreted from her poetry by some musical artists. The second is also a music video, as declared by the poet Nadia Camit-Upton; she had a collection of poetry released in 2004 by Powerbooks, with a VCD of the videos her friends made of 20 of her poems. Meanwhile, "Soft Night," taking from the title of Abelardo Subido's poem, was meant to be a trailer for filmmaker Khavn dela Cruz's digital feature, The Longest Moment You're Not Here, but it could be considered a stand-alone work and was in fact shown as an experimental short in a Singapore Asian Film Festival. The selection of these texts does not in any way imply that they are meant to depend on their poetic roots to determine their “literariness.” In the analysis of these texts, this paper hopes to posit new considerations of reading “poetically,” looking to other media to cite what could be considered poems or not, first, by enumerating the formalistic equivalences between poetic language and digital language, then arguing that lyricism will eventually take place in the viewer's journey and engagement with the text. As what Christian Metz intones, film lets denotation happen in the reader; it is in him that the processes of interpretation and reading must take place (Metz 1992, 169). This exercise in determining the place of poetry in the digital age accounts for more than the transformative and transitional space of literature in the age of media and digital art; the very form itself seeks to be the embodiment of a counter-consciousness in a non-literary age, for in its transformation of the poetic form it self-referentially proves some of the problems that poetry, printed or recited or performed, undergoes. John Ashberry in his discussion of the avant-garde said it best: “Most reckless things are beautiful in some way, and recklessness is what makes experimental art beautiful.” In looking at new spaces for poetry, allow the experimental spirit not to tense, but to excite. ***This is an excerpt of a longer paper published in "KRITIK/CRITIQUE: Essays from The J. Elizalde Navarro National Workshop in the Criticism of the Arts and Humanities, 2009-2012" (UST Publishing House, 2014, pp. 6-25).
2006 •
The ideas of Siegfried J. Schmidt (Münster) helped me to understand the relationship between a concept of media (as developed by Schmidt) and history of poetry as a medial artifact.
Language and Literacy
Poetry and New Media: In Conversation with Four Poets2011 •
Through an examination of digital poetry explorations created by the researcher based on conversations with four Canadian poets, this paper explores the convergence of poetry and new media and attempts to address what happens when the pedagogical ideals outlined by the poets are represented digitally. The poets and researcher discuss the affordances the digital poetry explorations might offer a potential reader or aspiring writer.
The Poetics of Digital Media (Polity)
The Poetics of Digital Media - Cover and Excerpt from Introduction2018 •
'The Poetics of Digital Media is a ground-breaking contribution to the study of digital media as a technological, social and symbolic environment. It will be a key point of reference in the study of digital culture for years to come.’ Lilie Chouliaraki, London School of Economics and Political Science. ‘When I find myself puzzled by some weird thing in digital visual culture, Paul Frosh is my go-to thinker. This book counters the wide suspicion that poetics is formalist or frivolous and shows how the deepest questions of justice, ethics and the public world are poetic ones. It is a guide for the perplexed in these digital times.’ John Durham Peters, Yale University. Media are poetic forces. They produce and reveal worlds, representing them to our senses and connecting them to our lives. While the poetic powers of media are perceptual, symbolic, social and technical, they are also profoundly moral and existential. They matter for how we reflect upon and act in a shared, everyday world of finite human existence. The Poetics of Digital Media explores the poetic work of media in digital culture. Developing an argument through close readings of overlooked or denigrated media objects – screenshots, tagging, selfies, and more – the book reveals how media shape the taken-for-granted structures of our lives, and how they disclose our world through sudden moments of visibility and tangibility. It investigates how the ‘given’ world we inhabit is given through media. The Poetics of Digital Media is important reading for students and scholars of media theory, philosophy of media, visual culture and media aesthetics. Paul Frosh teaches in the Department of Communication and Journalism at the Hebrew University of Jerusalem.
Visual Worlds: The Aesthetics and Politics of Affect. (eds.) Isabelle Boof-Vermesse, Kornelia Slavova, Elena Dineva. Sofia: Polis Press, 2018. 136-144. ISBN: 978-954-796-066-4.
“S is for Seduction: From Electronic Literature to the Printed Book.” In Visual Worlds: The Aesthetics and Politics of Affect. (eds.) Isabelle Boof-Vermesse, Kornelia Slavova, Elena Dineva. Sofia: Polis Press, 2018. 136-144. ISBN: 978-954-796-066-4.Building on my previous studies of the origin and nature of electronic literature from the late 1990s onwards from the perspective of the philosophy of technology and the two strands of posthumanism: the technocentric and anthropocentric ones, as I have termed them,1 here I aim to examine the 'reverse' development in the field of fiction. How has digital technology affected the printed book? Clearly, digitality – of which visuality is only one aspect, often perceived as the dominant one – has emerged as the central feature not only of electronic literature, but lies at the core of contemporary printed literature as well. As N. Katherine Hayles claims in her paper, " What is Literature? " published in the New Literary History, " Literature in the twenty-first century is computational " (2007: 99). This is certainly true for electronic literature, which is " digital born, created on a computer and meant to be read on it " (Hayles 2007: 99). The digital medium has become intrinsic to print literature as well and has opened new opportunities for exploration and experimentation. This paper looks at recent visual experimentation in print, which draws on the digital, and leads to playing around with the materiality of the text. This development has led to a further foregrounding of the physical and fictional nature of printed texts in ways that are both original and reminiscent of the modernist experiments with language as a material object: both aurally and visually, in terms of layout and typography, as carried out, for example, by Gertrude Stein, Edward Cummings and many others. Though there is an established tradition of examining electronic literature as an offshoot of postmodern writing and as a validation of all the major tenets of literary postmodernism, it is not by chance that the avant-garde aesthetic practices of electronic literature and print literature in the 21 st century have been interpreted even in quite recent studies as conjoined to the modernist period, for instance in Digital Modernism by Jessica Pressman (2014). Today there is an abundance of literary texts, which merge textuality with technology in hybrids of the verbal and the visual mode by employing the creative potential of the digital medium.
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