Notes and Quotes: Strehovec on page 207

Notes and Quotes

Janez Strehovec (beginning on page 207)

Screen: http://collection.eliterature.org/2/works/wardrip-fruin_screen.html, http://www.noahwf.com/screen/
Background on Screen: https://www.youtube.com/watch?v=WOwF5KD5BV4

Digital poetry turns out to involve several experimental projects (207).

Digital poetry projects challenge literary theory to redefine and adjust its methodological approach by applying concepts and devices taken from other fields (207).

Text is undergoing radical shifts in addressing both the author and the reader (208).

Digital poetry helps to blur the differences between elite and popular arts and it attracts many different types of people—not just people that read books or are a member of the university (209).

The links between digital poetry and net art, software art, browser art, and text-based electronic installations are often stronger than their connection to poetry printed in a book (209).

In digital poetry, experimentation is gaining importance over passionate and emotional poems (210).

What exactly is the very literary nature of this kind of poetry? Can it still be considered poetry or has it already developed into something else? (211).

Defamiliarization enables one to grasp and define the digital literature and poetry author’s effort in arranging her material in a very uncommon fashion (211).

Defamiliarization in terms of digital poetry means that the authors arrange the subject’s feelings, sensations, dreams, etc… in an unfamiliar way in order to ensure a non-habitual and non-automatic perception of an individual’s intimate realm as well as of her language, views, and ideas (211).

Digital texts bring something into the language, its organization, and into reading that did not exist before (212-213).

In digital poetry, you “sculpt again” rather than “read again” because of the fact that it enables the reader to have a very creative and intensive contact with the text (213).

Digital poetry really is about events based on two levels: the internal “unwrapping” of the textual hidden layers as well as on the reader’s/user’s reading in the form of her interactive intervention into the texts (214).

In current television the screen is no longer a sacred space dedicated to a single image (216).

A user of digital textuality needs to focus at the visual aspect of the text, at the digital word-image itself, not purely using it as a point of reference… a literary world with meaning (217).

Instead of the traditional reader, the digital text user is being recreated: she is abandoning the merely linear readings and becomes as capable of complex and non-trivial perceptions and cognitions of such texts as possible (218).

The very principle of plurality and non-conflicting coexistence of heterogeneous elements is characteristically demonstrated by the web site (219).

It goes without saying that naked bodies can also be dressed bodies, landscapes, politics, etc… (221).

It seems correct that the perception of new media contents is a dry run for detecting the consequences of this reinvention of the bodily activities within the new media arts and culture (222).

New technologies of organizing and processing a text emerge with their own conventions and demands of reading (222).

In the moment the words come loose in a 3D virtual environment, each of them speaks to our body, hits it, and challenges its complex behavior (224).