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combinatory poetics

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 Combinatory poetics came about in the twentieth century and is still a large part of electronic literature. Within Zurich Dada, abstract art took ahold and the poems were created by flow of consciousness with a newspaper and scissors. The product would be a representative of the creator and their mind. What I found interesting is that this would later be expanded to groups as well. Meaning, a group of people could sit together, pass around a paper and write whatever came to mind. The end would be a mash of questions, responses, and anything in between. This can create a sort of group unconscious product where creativity does not have any bounds. Programs allowing for electronically generated poetry, and in some cases stories, have boomed and give readers a wide range of poems. One that was mentioned in the text was Taroko gorge, I explored that in Intro Creative non fiction and found it fascinating that it never really ends. It has also transformed into an almost collaborative spa...
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Kinetic and Interactive Poetry

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...
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