DigitalLiterature

In chapter 5, kinetic and interactive poetry are described as a form of e-lit that is heavily concerned with the use of sounds, visuals, movement, music, and language. Scott Rettberg describes describe kenetic and interactive poetry as such, "Kinetic and interactive poetry explore the specific multimedia capacities of the contemporary computer as a poetic environment for both composition and reception." Like with other forms of e-lit, poets are able to create meaning with much more than just words on a page. One very important aspect of kinetic and interactive poetry is the use of time and movement. In addition to the meaning of the words on the page, their movement, and the movement of visuals, creates its own meaning. Time is also important. As Rhettberg puts it: "the poem is experienced as the performance of the code within a given configuration of a given platform rather than the code itself. Therefore, it is the running of the code that gives kinetic poetry a tempor

     Chapter 5 describes and explains that digital kinetic poetry “…provides text as time-based moving image, often with a sound dimension, and is often interactive and responsive as well,” (Rettberg, 314) and all of the other ways in which poetry can be shared. I loved when Rettberg listed about all the ways that words can be presented shortly after that quote, giving the reader a better understanding of how limitless the visual aspect of this poetry can be. This chapter was broken up nicely as well, I found it to be easier to understand than some pervious chapters. Having it divided between the different types of poetry made each section easier to comprehend and singe out, allowing for nothing to accidentally overlap in my mind when learning about so ma ny different types of poetry in such a condensed chapter.        I really enjoyed “ii in the white darkness” by Reiner Strasser & M.D. Coverly. I thought that this hypertext was very engaging for how beautiful it was. The collecti

In Chapter Five of Scott Rettberg's Electronic Literature , the genres of kinetic and interactive poetry were introduced. Similarly to the categories of electronic literature that have been elaborated upon in the previous chapters, kinetic poetry, in itself, is a large, primary genre that houses a conglomerate of other e-lit sub-genres. Scott Rettberg cites Chris Funkhouser's analysis of digital poetry, stating, "Chris Funkhouser describes digital poetry as 'not a singular 'form' but rather a conglomeration of forms that now constitutes a genre even though the creative activity itself - in terms of its media, methods, and expressive intent - contains heterogeneous components.' He asserts that a 'poem is a digital poem if computer programming or processes (software, etc.) are distinctively used in the composition, generation, or presentation of the text'" (Rettberg 118). One of the most interesting components of kinetic poetry is the usage of ti

      This week's chapter was one of my favorites. I'm a big poetry fan and digital poetry is such an amazing genre of it's own. It seemed fitting that Chris Funkhouser describes it as a conglomeration of forms. It truly is impressive how diverse and malleable this sector of e-lit is, it can be used in so many different ways and portrayed in endless ways. I really enjoy the blending of music, poetry, sound, and animation in this genre of digital literature, and the way in which interactive and kinetic poetry are now translating over into virtual and augmented reality is really neat. The flexibility of this genre creates space for a vast span of  creations and the potential for poetry to grow more than ever before with the partnership with technology. The end of this chapter discussed the concept of letters as objects, in constant movement, connecting through the form of poetry. I really enjoyed the thought that kinetic and interactive poetry lets readers experience this ide

  I wish we were still in the era of Flash because I really mourn the loss of all those pieces of digital art. It feels as devastating as losing entire libraries worth of knowledge, a modern Alexandria. The reading itself was fine and while I felt I cerebrally understood what the text meant, Lotus Blossom really made it clear to me how technology and the medium affected the quality and meaning of a text. The inclusion of sound, rhythm, multilinguist, and flashing light captured my attention in a way videos have never done so before. If I blinked or paused the video, or looked away, I would have missed a crucial part of the story. The text flashed in time with the music and repetitive phrases kept me on edge. I also found it very interesting that while Starswars one letter at a time and Lotus Blossom had similarities (white background, text in time with music), Lotus Blossom was easier to understand and read because of the animation she employs and the repetition she uses. The lack of c

     Kinetic and interactive poetry, because of its digital-born nature, is perhaps uniquely suited to the creation of metaphors. In Electronic Literature , Scott Rettberg quotes Chris Funkhouser, who argues that a poem is electronic “‘...if computer programming or processes (software, etc.) are distinctively used in the composition, generation, or presentation of the text’” (118). This of course opens up a wide range of possibilities for the medium of metaphor and how it may affect the meaning of the piece. Ingrid Ankerson and Megan Sapnar’s Cruising , for instance, utilizes animation to immerse the reader in the text, with the limited degree of user control and the passing of the text across the page encouraging comparisons to driving (Electronic Literature Collection). ii in the white darkness by Reiner Strasser and M.D. Coverley, while also making use of animation, is also notable for its use of sound. The muffled aural landscape, which appears and disappears with the click of the