For some time now I have been seeking art-focussed GPS-triggered apps for smartphones and am particularly enamoured by SATSYMPH:

SATSYMPH LLP is composer and visual artist Marc Yeats; poet, writer and context-aware media director and producer, Ralph Hoyte; and coder, composer and audio engineer Phill Phelps.”

The trio create ‘context-aware soundworlds’ i.e.

…high quality contemporary soundscape experiences…triggered by GPS...”


Their elegant and adaptable creation has massive potential and what I particularly like about it is that downloaded content functions completely independently of the availability of a phone signal, rendering it especially useful in rural regions.

Full details can be found on the website, facebook and twitter:



Here’s a link to an interesting infographic showing how the means by which we access recorded music has changed during the past three decades.

I wonder how the consumption of literature compares, and where we are heading?


More on Appoet…

.: Poetry in Chicago

Josh Fisher, CEO of Appoet, plays the commercial for one of Appoet’s forthcoming apps in DePaul’s “Poetry East” production studio. The app, called “Poet’s Almanac,” was commissioned by DePaul and will assign a poem to users based on the day’s weather. Fisher explained that the behind-the-scenes work involved categorizing poems from past issues of “Poetry East” into different temperatures and weather conditions. Josh Fisher, CEO of Appoet, plays a commercial for one of Appoet’s forthcoming apps in DePaul’s “Poetry East” production studio. The app, called “Poet’s Almanac,” was commissioned by DePaul and shares a poem with users based on the day weather’s. Fisher explained that the behind-the-scenes work involved categorizing poems from past issues of “Poetry East” into different temperatures and weather conditions.

Josh Fisher began working on his first poetry application after his grandparents passed away, leaving him a box of their WWII-era love letters. He wanted to create something beautiful from the letters, that was faithful to their memories but that also embraced new storytelling methods. This resulted in “What We Mean,” an interactive app that allows users to read the original letters, to see Fisher’s process of creating the poems through erasure and that encourages users to develop and share their own erasure poetry.

The success of “What We Mean,” accepted into the App Store…

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Appoet & Infused

Appoet was founded on the belief that ebooks are an intermediary media between physical literature and mobile applications for storytelling. By focusing on the multidimensional capacity of mobile technologies, traditional humanities become immersive experiences that no longer lend themselves to introspection, but community engagement.”

The full story is to be found at as well as on facebook  and twitter.

One of the main outcomes has been the development of an exciting app, Infused:

Infused is a user curated GPS-enabled magazine.”

Access this digital humanities project at and keep up to date via facebook and twitter

A couple of my own submissions are here:,%20United%20Kingdom.html

Infused will be released this spring on Apple, Android, and Windows devices


The Machine Stops…

The writer and broadcaster EM Forster (1879-1970) had this short story published in 1909.

He is not thought of as a sci-fi author, but these two sentences illustrate the prescience of the piece.

There was the button that produced literature. and there were of course the buttons by which she communicated with her friends. The room, though it contained nothing, was in touch with all that she cared for in the world.”

It is certainly an interesting read…

I ♥ E-Poetry…

I ♥ E-Poetry is largely an educational project, developing into a reference of electronic literature that aims for encyclopedic scope of its coverage.

It is designed for newcomers to these genres, scholars who need a quick reference, and educators interested in teaching e-lit in their courses. “


The project has a blog, from which came the above quote, and also a facebook page.


It is a fabulous, expanding, resource.

Electronic literature: What is it?

In her 2007 essay N Katherine Hayles provides the following definition (which I have rearranged):

a “digital born” literary work––that is:

 “a first generation            

digital object

created on a computer

and (usually) meant

      to be read on a computer”

 (inc smart phones and tablets etc.)

There are potential pitfalls with such a definition which seemingly rules-out an electronic adaptation or revision as not being ‘first generation’, and what of notes or found objects that a poet may wish to use in their work?

However, it does have the twin strengths of relative simplicity and brevity and, to me, seems far more inclusive than the one that Stephanie Strickland provided in her piece ‘Born Digital‘which I referred to in an ealrier entry.

Hayles essay continues with an investigation of various genres of electronic literature, a very interesting discussion of the distinction between printed and electronic forms, and finishes with a consideration of the Electronic Literature Organization’s PAD (Preserving, Archiving and Dissemination) Initiative.

Born magazine 1996-2011

One place where there is an excellent collection of eMedia to explore is in the archive of the online magazine Born which:

From 1996 until its retirement in 2011, Born connected over 900 contributors, generating an extraordinary record of collaboration between literary arts and multimedia.

There are many different types of eLit to investigate here, including pieces analysed in Poetic Machines such as the interactive ePoem ‘Fallow’, and the best thing is to visit and see what’s there…

Poetic Machines

There appears to be to be far more written about ePoetry, and electronic literature in general, than there are examples of the form and it was refreshing to find a thesis that not only provides a cogent exploration of what defines ePoetry but does so primarily by an examination of specific examples.

Jeneen Naji’s Poetic Machines: an investigation into the impact of the characteristics of the digital apparatus on poetic expression. (Sep 2012) is essential reading and her fluid, clear style makes this a very pleasant experience.

I particularly like her inclusion of a useful timeline with significant dates in the history of electronic literature, and expect to find myself referring to her work frequently in future explorations.