<div dir="ltr"><div><div>Hi Susan, the entirety of <i>The Spiritual Life of Replicants</i> (Talisman House, 2011) is only in book form. It can be bought through Amazon or Independent Book Publishers. Selections from it are on line, for instance in <i>The Brooklyn Rail</i> (<a href="http://brooklynrail.org/2009/10/poetry/from-the-spiritual-life-of-replicants">http://brooklynrail.org/2009/10/poetry/from-the-spiritual-life-of-replicants</a>) or in Jerome Rothenbereg's <i>Poems and Poetics </i>that can be accessed through <i>Jacket2</i>. Along with passages from the poem, Jerome included my after-word essay "A Few Thoughts On Fragments." Also, PennSound at the University of Pennsylvania has a video recording of me reading about half of the poem starting from the beginning, including the Q&A section at Kelly House (<a href="http://writing.upenn.edu/pennsound/x/Nemet-Nejat.php">http://writing.upenn.edu/pennsound/x/Nemet-Nejat.php</a>). It may be very worth while buying the book itself.<br><br></div>Ciao,<br></div>Murat<br></div><div class="gmail_extra"><br><div class="gmail_quote">On Thu, May 4, 2017 at 1:31 PM, Davin Heckman <span dir="ltr"><<a href="mailto:davinheckman@gmail.com" target="_blank">davinheckman@gmail.com</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">----------empyre- soft-skinned space----------------------<br><div dir="ltr">Following on Alan's comments comments on canonicity, and the value of what exists beyond... I suspect that the great patterning of our century is the orchestration of affect (things like Facebook's husbandry of wild affective states, their domestication, and conversion into commodities). And here our passions become Roundup Ready Terminator seeds, dead end creatures in tidy little rows, waiting for a machine to spray the weeds.<br><br>What can exist outside of this? Against this? In spite of this? Beyond this? What little wildflowers may bloom? I think the understood works are a place where we can see and know that in our days of emergency, not all emergence is equivalent, and that there are instances where we can leave and detect traces, however strong or subtle they may be. But there are territories beyond this (I was recently reading Zepka's apotrolomena), and the signals they send are yet more alien.... And that gives me hope.<div><br></div><div>In reviewing the about page from the ELC 3 (<a href="http://collection.eliterature.org/3/about.html" target="_blank">http://collection.<wbr>eliterature.org/3/about.html</a>), I am reminded that there are some interesting lines of flight implied.... a collection that dwells a bit more on its ephemerality than the two previous, but like the others contains many very real wildflowers...</div><div><br></div><div>Davin</div></div><div class="gmail_extra"><br><div class="gmail_quote">On Thu, May 4, 2017 at 11:47 AM, VANDERBORG, SUSAN VANDERBORG <span dir="ltr"><<a href="mailto:SJVANDER@mailbox.sc.edu" target="_blank">SJVANDER@mailbox.sc.edu</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">----------empyre- soft-skinned space----------------------<br>
Davin, thanks--these are terrific resources for the Montfort/Strickland pieces! Murat, might it be possible to post a link to your poem or information for the full volume?<br>
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These posts and Alan's detailed piece underscore great questions of publication and scholarly space for discussions of robot poetry--the need to remind students that the most current and thoughtful discussions are taking place in newsgroups, lists, chats, open publication sites.<br>
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It's a wonderful boon that some of the poetry itself is available in collections like the Electronic Literature Collection or on the artists' site--I am so grateful to be able to direct cyborg lit students to Emily Short's Galatea, for instance, or Andrew Plotkin's Shade, and Alan, I believe you have posted large segments of the Internet Text online. Your point, too, that many of the programming languages or environments are shared reinforces the concept of publication in Borges-style, open-source directions. And when some of the texts are collected in print volumes, we can again discuss the effect of different visual/material formats on the interpretation of the poem.<br>
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How have other participants and readers approached questions of e-publication and forums? What opportunities or difficulties does it pose for authors? How do we both encourage online postings and support the amazing work of presses like Finishing Line, Barrytown, Coffee House Press, Coach House Books, and many others?<br>
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From: <a href="mailto:empyre-bounces@lists.artdesign.unsw.edu.au" target="_blank">empyre-bounces@lists.artdesign<wbr>.unsw.edu.au</a> [<a href="mailto:empyre-bounces@lists.artdesign.unsw.edu.au" target="_blank">empyre-bounces@lists.artdesig<wbr>n.unsw.edu.au</a>] on behalf of Murat Nemet-Nejat [<a href="mailto:muratnn@gmail.com" target="_blank">muratnn@gmail.com</a>]<br>
Sent: Wednesday, May 03, 2017 8:50 AM<br>
To: soft_skinned_space<br>
Cc: <a href="mailto:mhree@uoregon.edu" target="_blank">mhree@uoregon.edu</a><br>
Subject: Re: [-empyre-] What is robot poetics? How/why should we teach it?<br>
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----------empyre- soft-skinned space----------------------<br>
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