Explores pioneering works of digital poetry and demonstrates how technological constraints that would seemingly limit the aesthetics of poetry have instead extended and enriched poetic discourse For the last five decades, poets have had a vibrant relationship with computers and digital technology. This book is a documentary study and analytic history of digital poetry that highlights its major practitioners and the ways that they have used technology to foster a new aesthetic. Focusing primarily on programs and experiments produced before the emergence of the World Wide Web in the mid-1990s, C. T. Funkhouser analyzes numerous landmark works of digital poetry to illustrate that the foundations of today’s most advanced works are rooted in the rudimentary generative, visual, and interlinked productions of the genre’s prehistoric period. Since 1959, computers have been used to produce several types of poetic output, including randomly generated writings, graphical works (static, animated, and video formats), and hypertext and hypermedia. Funkhouser demonstrates how hardware, programming, and software have been used to compose a range of new digital poetic forms. Several dozen historical examples, drawn from all of the predominant approaches to digital poetry, are discussed, highlighting the transformational and multi-faceted aspects of poetic composition now available to authors. This account includes many works, in English and other languages, which have never before been presented in an English-language publication. In exploring pioneering works of digital poetry, Funkhouser demonstrates how technological constraints that would seemingly limit the aesthetics of poetry have instead extended and enriched poetic discourse. As a history of early digital poetry and a record of an era that has passed, this study aspires both to influence poets working today and to highlight what the future of digital poetry may hold.

A singular and major historical view of the birth of electronic poetry. For the last five decades, poets have had a vibrant relationship with computers and digital technology. This book is a documentary study and analytic history of digital poetry that highlights its major practitioners and the ways that they have used technology to foster a new aesthetic. Focusing primarily on programs and experiments produced before the emergence of the World Wide Web in the mid-1990s, C. T. Funkhouser analyzes numerous landmark works of digital poetry to illustrate that the foundations of today’s most advanced works are rooted in the rudimentary generative, visual, and interlinked productions of the genre’s prehistoric period. Since 1959, computers have been used to produce several types of poetic output, including randomly generated writings, graphical works (static, animated, and video formats), and hypertext and hypermedia. Funkhouser demonstrates how hardware, programming, and software have been used to compose a range of new digital poetic forms. Several dozen historical examples, drawn from all of the predominant approaches to digital poetry, are discussed, highlighting the transformational and multi-faceted aspects of poetic composition now available to authors. This account includes many works, in English and other languages, which have never before been presented in an English-language publication. In exploring pioneering works of digital poetry, Funkhouser demonstrates how technological constraints that would seemingly limit the aesthetics of poetry have instead extended and enriched poetic discourse. As a history of early digital poetry and a record of an era that has passed, this study aspires both to influence poets working today and to highlight what the future of digital poetry may hold.

Examines a range of innovative practices and processes in digital poetry published on the global computer network during the past decade.

The Cambridge Companion to Latin American Poetry provides historical context on the evolution of the Latin American poetic tradition from the sixteenth century to the present day. It is organized into three parts. Part I provides a comprehensive, chronological survey of Latin American poetry and includes separate chapters on Colonial poetry, Romanticism/modernism, the avant-garde, conversational poetry, and contemporary poetry. Part II contains six succinct essays on the major figures Sor Juana Inés de la Cruz, Gabriela Mistral, César Vallejo, Pablo Neruda, Carlos Drummond de Andrade, and Octavio Paz. Part III analyses specific and distinctive trends within the poetic canon, including women's, LGBT, Quechua, Afro-Hispanic, Latino/a and New Media poetry. This Companion also contains a guide to further reading as well as an essay on the best English translations of Latin American poetry. It will be a key resource for students and instructors of Latin American literature and poetry.

What happens to literature in an age of digital technology? Regards Croisés: Perspectives on Digital Literature provides an answer, with a collection of cutting-edge critical essays on literature gone digital. Regards Croisés is an important addition to existing research on digital literature, and will appeal to scholars of electronic writing, digital art, humanities computing, media and communication, and others interested in the field. It offers a significant advance in the field through its wide-angle perspective that globalizes digital literature and diversifies the current critical paradigms. Regards Croisés shows how digital literature connects with traditions and future directions of reading and writing communities all over the world. With contributions by authors from eight countries and three continents, the collection presents points of view on a transcontinental practice of digital literature. Regards Croisés also opens dialogues with expanded critical paradigms of digital literature, beyond earlier critical concern with the aesthetics of the screen as a space of hypertext links. Many of the essays recognize a rich history and ongoing literary practice engaged with the basic fact of the computer as a programmable device. Other essays explore the latest developments in social media and Web 2.0 as venues for digital literature. Regards Croisés shows the vibrant engagement of writers and readers with literary practice in a digital world.

This Companion offers an extensive examination of how new technologies are changing the nature of literary studies, from scholarly editing and literary criticism, to interactive fiction and immersive environments. A complete overview exploring the application of computing in literary studies Includes the seminal writings from the field Focuses on methods and perspectives, new genres, formatting issues, and best practices for digital preservation Explores the new genres of hypertext literature, installations, gaming, and web blogs The Appendix serves as an annotated bibliography

The first systematic, comprehensive reference covering the ideas, genres, and concepts behind digital media. The study of what is collectively labeled “New Media”—the cultural and artistic practices made possible by digital technology—has become one of the most vibrant areas of scholarly activity and is rapidly turning into an established academic field, with many universities now offering it as a major. The Johns Hopkins Guide to Digital Media is the first comprehensive reference work to which teachers, students, and the curious can quickly turn for reliable information on the key terms and concepts of the field. The contributors present entries on nearly 150 ideas, genres, and theoretical concepts that have allowed digital media to produce some of the most innovative intellectual, artistic, and social practices of our time. The result is an easy-to-consult reference for digital media scholars or anyone wishing to become familiar with this fast-developing field.