[syndicate] epoetry2007

[fm]

thank you, anna, for going there so we don't have to
btw, I was thinking on the way to getting Jules back from the garderie 
this morning that I was wrong in stating that
it's not literature
I am not in a position to decide what is literature and what is not and 
also I am not interested in debating that subject, i'm sure the topic is 
flogged to death and there must be some monks somewhere still working on 
it between themselves and having arguments at lunchtime over what is 
literature
what is interesting, somewhat like with art (or pretty much anything 
else), is that those people decide to show what they do by framing it 
into the word "literature" or "poetry", so it is more important to hear 
what they have to say and what they mean about their work by being, I 
think, protected by the resonance of the words literature, poetry, 
cinema, net art with dot or without dot
we have to accept that people recognize themselves as being part of the 
history of this or that and start from there to be able to find any lead 
into it. the word is part of the work as much as anything else, 
sometimes it is even all that there is to it
now I don't know much about poetry and the word makes me mostly cringe, 
I find it's more engaging when it is performed (I refuse to read poetry) 
but there is some solmenity to it which I find quite off puting
show me some poetry which is, nowadays, disruptive of the consensus and 
perhaps I could relate to it (perhaps)
anyway, to get back to what I was thinking, perhaps one quick way to 
decide how to critique electronic literature or epoetry or whatever 
brand would be to tell their authors, after engaging with the pieces, 
well you know I think you should call it cinema, or I think you should 
call it dance, or I think you should call it pastry and then see if they 
accept this and then how this transforms the work into something that we 
like better as pastry than literature or net without dot art or with, dot

of course there is a difficulty if in some instances you have to admit
ok I find that this works for me when described as poetry
ok I find that this works for me when described as literature
but are there any instances of this ?

I think one interesting example of what I'm saying up there might be our 
favorite punchball TH
now he was struggling at some point to be some kind of a conceptual 
artist, that was fun but reavealed itself limited, then he wanted so 
much to be a net artist but at the same time he wanted most of all to be 
famous and this revealed to be contradictory, then he just wanted to be 
famous and this happened but I think something must have been lacking 
for him and it was not satisfactory, also we resented that he was famous 
because we thought he wanted to be a net artist, and now he says that he 
is a poet and, you know, I think it's the best decision he has made and 
I find that, yes, TH as a poet... that works. but basically, this is my 
point, is doing pretty much the same as he ever was.
now I don't grasp poetry and of course I am contradicting myself (it's 
dialectics, i've learned that it is good if I mention this) I am just 
stating my feelings in this case
which is what critique is all about

now, if I may end this with jest and go to bed, I wish that the 
promoters of, says, codeworks would rethink their tenance and I'm ready 
to accept what they do if they decide to now go under the helm of kitsch.
codework never existed anyway, kitsch has a long established tradition 
in which they should reign as the new masters
please go for it and I promise to like you better

f.

epistolaris at freemail.hu a écrit :
> I have attended in Paris  a part of the e-poetry festival.
> It was a good opportunity  to distinguish some different traditions
> and backgrounds, specially the French one, based largely on sound and visual
> poetry. 
> I also listened to many academics coming mostly from literature studies trying
> to grab aesthetics of animated texts and multimedia, with more or / apart of
> few exceptions /with less success.
> However, i saw and i heard very few things worthy to note.
> There was plenty of simply tragic presentations, of the type of dancers in
> front of a 
> poetry reading	accompanied with sound, in better case with animation, video,
> and very few works exploring the interactive, generative aspects of the
> literature 
> assisted by computer.  The internet  meant in this festival only that a
> remote performance is possible, or it served for the presentation of a web-page
> as
> a poetry performance. None of the presentations dealed with the internet as an
> environment to be explored in an artistic way.
> The performances that i liked the most are not online so far, unfortunately.
> But the website epoetry2007.net is supposed to grow gradually, covering in the
> end the whole festival, so probably my favorite ones will appear as well: The
> Poem to Scour by Philippe Bootz (F), - if this work will be online, it is good
> to know that one has to scour really hard with a mouse to see the poem -, and
> the work of Jerome Fletcher (UK) that investigated layering, the confusion
> between accretion and erasure in writing in the frame of a Java applet.  The
> text-generating sound performance of Joerg Piringer (A) was a real-time
> experience, but one can get an idea of it through the documentations on his
> website. Noemata's performance we could enjoy online, but it did not get to the
> festival, unfortunately. Alan's work was performed at the festival, the
> reactions to it were good - personally i have seen it online only.
> greetings from Paris,
> anna
>
>