RE: [-empyre-] on electronic poetry

> ...the essential underlying play between the technology itself, the
use of it and the [seemingly unrelated] outcome...


the result of interacting with the technology...
eg. a car, driving the car, being able to go to new fun places and meeting people or just clagging the sky up with heavy metals and soot

 and I guess also
 the marketing 'presence'... [by that I mean how academics, curators
 and journalists like to try interpret it for us]


there's 'marketing' pr and then there's insightful criticism. the two should be distinguished,
though they are sometimes present in the same piece of writing. and criticism plays an important
role in the art beyond 'marketing', wouldn't you say? walt whitman said something like 'great
poetry demands a great audience'. part of what he meant is that it cannot exist without a great
audience, they arise together, the poet and the audience for which there is something important
at stake in the poetry and the state of the language.

I find this fine line between public relations and criticism very difficult to distinguish most of the time - particularly in the academic environment where everything revolves around self promotion.
[have you been on a selection panel recently? or a publishers review panel?]

It seems that the form of distribution is then critical to our understanding of writing and forms a greater part of our experience. ie. is a hypertext only possible preformed? or is it 'randomly' connecting events and ideas as we navigate ourselves?

 I was thinking about how anyone would|could define and recognise a
 'fake' hypertext and how the creative|interpretive|cognitive
 processes work in ourselves to lead us through these experiences.

'fake' in what sense?

that was also my question... [as with christina mcphee] What is real about a hypertext and could it be 'faked'...

i have tried to drag poetry along with me for twenty-five years. sometimes you have to let go,
it's true, but it's all around.

the works themselves will probably not survive. mine or many others', particularly given that
they are exe's or read by other exe's. a lifetime of work can eventually boil down to changes in
how people think of a word like 'poetry' (and its relations to other words like 'art').

well to quote Tom Waits [roughly] "we are all gonna be dirt in the ground"
I think it's more about the experience of getting there... the small moment in time...

Lloyd Sharp - - - [Digital Art & net projects]
Principal Design Officer - Interactive Design & Publications - - [CDROMs & Web development] - - [Artspace Gallery email & tech admin]

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