Another four pieces in the excellent online publication, Clear Poetry:
“…we now have unequivocal evidence that while some books are read, many are sampled.”
It’s all about UX (User Experience)…
“Since the eighteenth century the West constructed the myth that an increase in scientific knowledge and the emancipation of humanity go hand in hand. In the twenty-first century—while we do not believe in this “enlightened” concept any more—the explosion of digital technology results in both positive and negative developments including new forms of creativity such as net art and electronic poetry. The application of digital technology and resources for the artist implies a questioning of structural relationships on which the art world has been based.
Digitality changes how we create, it changes the solitary artist into a collaborative nomad belonging to multidisciplinary, transnational groups, it changes the materials used, the concept of the unique work and its inherent rights, its exhibition, and the function of the general public.
Consequently, the roles of museums and art centers, gallery owners, curators, public and private institutions, media etc., also change.”
This fascinating essay, which can be downloaded from the link below, suggests that we are in a period of transition between cultural forms and that the emerging one, complete with its blurring of conventional boundaries, offers, perhaps even demands, new forms of global collaboration.
Arbelo, Montse; and Franco, Joseba. “Towards Digital Art in Information Society.” CLCWeb: Comparative Literature and Culture 16.5 (2014): <http://dx.doi.org/10.7771/1481-4374.2501>
Nice example piece to introduce this new eZine.
Sailing to the Isle of Gometra
4 knots to 4.5.
With the fourth sail, 5.
Shearwaters almost slide
across the surface,
polishing their way through air.
Sea birds seem like minor gods
summoning the gusts
to flex and ride.
And swimming by:
a water horse,
whose gentle wake’s
a giant wave
crashing through our minds.
Seth Crook taught philosophy at various universities before deciding to move to the Hebrides. His poems appear in recent editions of Envoi, Magma, Gutter, The Moth, Southlight, The Journal, Poetry Bus, Prole, New Writing Scotland, and on-line in such fine e-zines as Antiphon, Snakeskin, and Ink, Sweat and Tears.
Archiving eLit presents its own particular challenges.
Fortunately there are people who are rising to meet them…
What happens when the medium on which a work of art was meant to be experienced no longer exists? That’s the question that absorbs Dene Grigar, director and associate professor of the Creative Media & Digital Culture Program at WSU Vancouver. In her Electronic Literature Lab in the Multimedia Classroom Building, she keeps 35 vintage computers dating back to 1983. These computers enable anyone to experience literature produced by and for a computing device as the artist intended—even if that particular computing device is no longer around.
“I collect computers to be able to access this work that is now obsolete,” she said. “The problem is, if you use a new computer to access an old program, it will make it look like a new program, and that’s not right. The work is defined not only by its content but also by the context around it.” That includes the computer…
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