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<p><font face="Baskerville">Hello all,</font></p>
<p><font face="Baskerville"><br>
</font></p>
<p><font face="Baskerville">The context in which I taught Margaret's
poems was a course called "Programming && Poetry" in
which we attempted to find the convergences/divergences between
code and poetry. The readings included Margaret's poems, some by
Neil Aitken (examples here:
<a class="moz-txt-link-freetext" href="http://www.thecossackreview.com/supplement4/neil_aitken.html">http://www.thecossackreview.com/supplement4/neil_aitken.html</a>),
machine-generated poetry, and code poems. We also read many more
"traditional" poems by authors that included Elizabeth Bishop,
Walt Whitman, Emily Dickinson, Louise Glück, William Carlos
Williams, Charles Simic, Wallace Stevens, Hayden Carruth, and
quite a few others. <br>
</font></p>
<p><font face="Baskerville"><br>
</font></p>
<p><font face="Baskerville">I only recently discovered that Morgan
Parker, in her latest book "There Are More Beautiful Things Than
Beyoncé", has a poem "RoboBeyoncé" that I'm currently mulling.
It starts: "Charging in the darkroom / while you sleep I am
touch and go / I flicker and get turned on / Exterior shell,
interior disco / I like my liver steeled / as a gun, my wires /
unbuttoned to you". Had I known about this poem when I prepared
my syllabus, I would have put it alongside some of Rhee's poems
like "Beam, Robot", "Light, Robot", etc. I think it would be
really productive to discuss the different ways in which the
robot can represent marginalized figures. For example, I've
always read Rhee's robot love poems as a type of queer love
poetry. In Parker's case, her poems deal regularly with issues
of black femininity. What does it mean that the robot--an ostensibly
unfeeling, hard-shelled, potentially dangerous creation--gets
imbued by these poets with sexuality and love?<br>
</font></p>
<p><font face="Baskerville"><br>
</font></p>
<p></p>
<p><font face="Baskerville">Critical readings included 10PRINT (Nick
Monfort, et al.), "Screening the Page / Paging the Screen"
(Marjorie Perloff), Introduction to Expressive Processing (Noah
Wardrip-Fruin), "The Time of Digital Poetry" (Katherine Hayles),
Metaphors We Live By (George Lakoff and Mark Johnson), Cognitive
Poetics (Peter Stockwell), and several articles/pamphlets on
text-mining of poetry and genre classification. </font></p>
<p><font face="Baskerville"><br>
</font></p>
<p><font face="Baskerville"> I divided the course into several
themes; while code & poetry was the first, we also discussed
electronic literature, critical code studies, distant reading,
and cognitive poetics. The last topic, for anyone unfamiliar,
concerns the application of cognitive psychology to the
understanding of poetry: that is, if the current metaphor for
mind is computer, then the poem must be a type of program that
gets executed in that space. If so, what are the mechanisms that
create meaning, emotion, etc.? My students found this a
productive line of inquiry as they continued to use these
concepts to analyze how the poems we read worked on the mind.
One of students also put together this exhibit of "Keyword
Poetry": <a class="moz-txt-link-freetext" href="https://keywordpoems.wordpress.com/">https://keywordpoems.wordpress.com/</a>, poems that she
wrote using only the reserved words in different programming
languages, along with her reflections on the process. <br>
</font></p>
<p><font face="Baskerville"><br>
</font></p>
<p><font face="Baskerville">We also discussed WCW's description of
poems:</font></p>
<p><font face="Baskerville"></font><br>
<meta charset="utf-8">
</p>
<font face="Adobe Caslon Pro">"There's nothing sentimental about a
machine, and: A poem is a small (or large) machine made out of
words. When I say there's nothing sentimental about a poem, I mean
that there can be no part that is redundant. Prose may carry a
load of ill-defined matter like a ship. But poetry is a machine
which drives it, pruned to a perfect economy. As in all machines,
its movement is intrinsic, undulant, a physical more than a
literary character." <br>
<br>
Combined with our readings in cognitive poetics and our
examinations of code poems, algorithmically-generated poems, and
poems about code, Williams's idea reinforced the idea that a poem
is like a program meant to create a certain state of mind, albeit
one far less predictable or replicable than a computer program.
Another aspect of Williams's thought here that I find particularly
effective when close reading is the sense that every word, every
punctuation mark, has meaning, contributes to the motion of the
poem, and must be weighed in any analysis: much like a computer
program, where (unless there are logic branches that go nowhere)
every bit of code has an effect. These ideas required a balancing
act in which, while providing different tools to decompile (so to
speak) how poems work, </font><font face="Adobe Caslon Pro"><font
face="Adobe Caslon Pro">I needed to keep the students aware of
the ambiguity and variability of a poem's meaning and effects</font>.
I was regularly reminded of these lines of Whitman's:<br>
<br>
</font><font face="Adobe Caslon Pro">
<div class="translations-teiLine" style="margin: 0px; padding: 0px
0px 0px 25px; text-indent: -25px; color: rgb(36, 45, 53);
font-family: Arial, Helvetica, sans-serif; font-size: 14px;
font-style: normal; font-variant-ligatures: normal;
font-variant-caps: normal; font-weight: normal; letter-spacing:
normal; orphans: 2; text-align: left; text-transform: none;
white-space: normal; widows: 2; word-spacing: 0px;
-webkit-text-stroke-width: 0px; background-color: rgb(255, 255,
255); text-decoration-style: initial; text-decoration-color:
initial;">Have you felt so proud to get at the meaning of poems?</div>
</font><font face="Adobe Caslon Pro">
<meta charset="utf-8">
</font><font face="Adobe Caslon Pro"><br style="color: rgb(36, 45,
53); font-family: Arial, Helvetica, sans-serif; font-size: 14px;
font-style: normal; font-variant-ligatures: normal;
font-variant-caps: normal; font-weight: normal; letter-spacing:
normal; orphans: 2; text-align: left; text-indent: 0px;
text-transform: none; white-space: normal; widows: 2;
word-spacing: 0px; -webkit-text-stroke-width: 0px;
background-color: rgb(255, 255, 255); text-decoration-style:
initial; text-decoration-color: initial;">
<div class="translations-teiLine" style="margin: 0px; padding: 0px
0px 0px 25px; text-indent: -25px; color: rgb(36, 45, 53);
font-family: Arial, Helvetica, sans-serif; font-size: 14px;
font-style: normal; font-variant-ligatures: normal;
font-variant-caps: normal; font-weight: normal; letter-spacing:
normal; orphans: 2; text-align: left; text-transform: none;
white-space: normal; widows: 2; word-spacing: 0px;
-webkit-text-stroke-width: 0px; background-color: rgb(255, 255,
255); text-decoration-style: initial; text-decoration-color:
initial;">Stop this day and night with me and you shall possess
the origin<span class="Apple-converted-space"> </span><span><br>
</span>of all poems,</div>
<div class="translations-teiLine" style="margin: 0px; padding: 0px
0px 0px 25px; text-indent: -25px; color: rgb(36, 45, 53);
font-family: Arial, Helvetica, sans-serif; font-size: 14px;
font-style: normal; font-variant-ligatures: normal;
font-variant-caps: normal; font-weight: normal; letter-spacing:
normal; orphans: 2; text-align: left; text-transform: none;
white-space: normal; widows: 2; word-spacing: 0px;
-webkit-text-stroke-width: 0px; background-color: rgb(255, 255,
255); text-decoration-style: initial; text-decoration-color:
initial;">You shall possess the good of the earth and sun,
(there are millions<span class="Apple-converted-space"> </span><span><br>
</span>of suns left,)</div>
<div class="translations-teiLine" style="margin: 0px; padding: 0px
0px 0px 25px; text-indent: -25px; color: rgb(36, 45, 53);
font-family: Arial, Helvetica, sans-serif; font-size: 14px;
font-style: normal; font-variant-ligatures: normal;
font-variant-caps: normal; font-weight: normal; letter-spacing:
normal; orphans: 2; text-align: left; text-transform: none;
white-space: normal; widows: 2; word-spacing: 0px;
-webkit-text-stroke-width: 0px; background-color: rgb(255, 255,
255); text-decoration-style: initial; text-decoration-color:
initial;">You shall no longer take things at second or third
hand, nor look<span class="Apple-converted-space"> </span><span><br>
</span>through the eyes of the dead, nor feed on the spectres in<span
class="Apple-converted-space"> </span><span><br>
</span>books,</div>
<div class="translations-teiLine" style="margin: 0px; padding: 0px
0px 0px 25px; text-indent: -25px; color: rgb(36, 45, 53);
font-family: Arial, Helvetica, sans-serif; font-size: 14px;
font-style: normal; font-variant-ligatures: normal;
font-variant-caps: normal; font-weight: normal; letter-spacing:
normal; orphans: 2; text-align: left; text-transform: none;
white-space: normal; widows: 2; word-spacing: 0px;
-webkit-text-stroke-width: 0px; background-color: rgb(255, 255,
255); text-decoration-style: initial; text-decoration-color:
initial;">You shall not look through my eyes either, nor take
things from me,</div>
<div class="translations-teiLine" style="margin: 0px; padding: 0px
0px 0px 25px; text-indent: -25px; color: rgb(36, 45, 53);
font-family: Arial, Helvetica, sans-serif; font-size: 14px;
font-style: normal; font-variant-ligatures: normal;
font-variant-caps: normal; font-weight: normal; letter-spacing:
normal; orphans: 2; text-align: left; text-transform: none;
white-space: normal; widows: 2; word-spacing: 0px;
-webkit-text-stroke-width: 0px; background-color: rgb(255, 255,
255); text-decoration-style: initial; text-decoration-color:
initial;">You shall listen to all sides and filter them from
your self.<br>
<font face="Adobe Caslon Pro"><br>
Best,<br>
<br>
Mike</font><br>
</div>
</font><font face="Adobe Caslon Pro"> </font>
<p><font face="Baskerville"><br>
</font></p>
<br>
<div class="moz-cite-prefix">On 5/2/17 12:20 PM, VANDERBORG, SUSAN
VANDERBORG wrote:<br>
</div>
<blockquote
cite="mid:D02A8A5FA7F2854BA201F3599CF2A247689C52CC@CAE145EMBP01.ds.sc.edu"
type="cite">
<pre wrap="">----------empyre- soft-skinned space----------------------</pre>
<br>
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<div style="direction: ltr;font-family: Tahoma;color:
#000000;font-size: 10pt;">A definition is challenging! Terms
such as robot poetry, cyborg poetry, or machine writing might
potentially include a huge variety of poetic practices:
speculative poems about robots, poetic alterations or
palimpsests from texts in robotics, code poetry, hypertext
poetry, poetry produced via search engines (such as Darren
Wershler and Bill Kennedy's
<i>apostrophe</i>) and other digital poetry experiments. Poems
using email or tweets. Poems that reenvision collaboration
between programmers and poets.
<br>
<br>
There is already a rich scholarly tradition for many of these
robopoetics--<i>Fashionable Noise,</i>
<i>New Media Poetics</i>, <i>Digital Poetics</i>, <i>Prehistoric
Digital Poetry</i>, and Hayles's
<i>Electronic Literature</i> and <i>Writing Machines</i>, and
essays by John Cayley, Talan Memmott, Stephanie Strickland, Ian
Hatcher, Florian Cramer, Matt Applegate, Steve Tomasula, and
others, invaluable for teaching digital, code, and machine
poetics in a special topics seminar I'd like to propose. Matthew
Kirschenbaum's thoughtful "Machine Visions" details texts whose
styles truly enact Haraway's idea of cyborg writing; Gregory
Betts, too, discusses cyborg poetics in his article "I Object,"
and Christian Bok's "The Piecemeal Bard Is Deconstructed" traces
"robopoetics" to its roots in RACTER algorithms.
<br>
<br>
Increasingly, robopoetics doesn't only reflect a world saturated
with technology but a forum where print and digital cultures
interact productively. In "Noise in the Channel," Wershler talks
about prose-poetic<font size="3">
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mso-fareast-font-family:"Times New
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print books, including Drucker’s <i
style="mso-bidi-font-style:normal">The Word Made Flesh</i>,
whose page layouts anticipate digital formats.
<i>Writing Machines</i> also juxtaposes experimental
artists' books and digital poetry.<br>
<br>
I've enjoyed teaching texts from Shelley Jackson's <i>Patchwork
Girl </i>to Brian Kim Stefans's
<i>The Dreamlife of Letters</i> and Jason Nelson's <i>Game
Game Game and Again Game</i> in grad and undergrad poetry
or postmodernism classes; they raise provocative discussions
about what constitutes a book or a poetic collage. But I've
taught robopoetics most frequently in an undergrad
literature survey class called "American Cyborgs." Larissa
Lai's "rachel" poems in
<i>Automaton Biographies</i> pair magnificently with both <i>Blade
Runner</i> and Haraway, Susan Slaviero's "Consider the
Dangers of Reconstructing Your Wife as a Cyborg" humorously
(and menacingly) complements our cyborgs and gender unit,
and Margaret Rhee's ": Trace" from <i>Radio Heart</i>
introduces "Race," in the title's wordplay, as a social
construction already-already present even when it hasn't
been "programmed yet." The "robot" in her book's subtitle
pays homage to Asimov stories in which robotic identity is
linked to race and discrimination such as "Bicentennial Man"
and "Segregationist." And there is the short film for the
lyrics of "Many Moons,'" set amid an updated slave auction,
where Janelle Monae presses a button at her neck to change
the skin color of her android character. Studying robot
poetics and robot subjectivity becomes a way of talking
about fights for civil rights, human rights--and the
interpretation of documents from the Declaration of
Independence to the U.N. Convention on the Rights of the
Child. <br>
<br>
I'm very eager to hear how others in the forum have taught
any form of robopoetics, and in what contexts, or with what
results...
<br>
<br>
Best,<br>
-Susan<br>
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<pre wrap="">_______________________________________________
empyre forum
<a class="moz-txt-link-abbreviated" href="mailto:empyre@lists.artdesign.unsw.edu.au">empyre@lists.artdesign.unsw.edu.au</a>
<a class="moz-txt-link-freetext" href="http://empyre.library.cornell.edu">http://empyre.library.cornell.edu</a></pre>
</blockquote>
<br>
<pre class="moz-signature" cols="72">--
Michael Widner, Ph.D.
Academic Technology Specialist
Division of Literatures, Cultures, and Languages
Stanford University Libraries
Pigott Hall, Room 108
450 Serra Mall
Stanford, CA 94305
t: 650-798-9485 </pre>
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