Brian Kim Stefans – författare
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3 produkter
3 produkter
Häftad, Engelska, 2017
609 kr
Skickas inom 5-8 vardagar
Word Toys: Poetry and Technics is an engaging and thought provoking volume that speculates on a range of textual works—poetic, novelistic, and programmed—as technical objects.With the ascent of digital culture, new forms of literature and literary production are thriving that include multimedia, networked, conceptual, and other as-yet-unnamed genres while traditional genres and media—the lyric, the novel, the book—have been transformed. Word Toys: Poetry and Technics is an engaging and thought-provoking volume that speculates on a range of poetic, novelistic, and programmed works that lie beyond the language of the literary and which views them instead as technical objects. Brian Kim Stefans considers the problems that arise when discussing these progressive texts in relation to more traditional print-based poetic texts. He questions the influence of game theory and digital humanities rhetoric on poetic production, and how non-digital works, such as contemporary works of lyric poetry, are influenced by the recent ubiquity of social media, the power of search engines, and the public perceptions of language in a time of nearly universal surveillance. Word Toys offers new readings of canonical avant-garde writers such as Ezra Pound and Charles Olson, major successors such as Charles Bernstein, Alice Notley, and Wanda Coleman, mixed-genre artists including Caroline Bergvall, Tan Lin, and William Poundstone, and lyric poets such as Harryette Mullen and Ben Lerner. Writers that trouble the poetry/science divide such as Christian Bök, and novelists who have embraced digital technology such as Mark Z. Danielewski and the elusive Toadex Hobogrammathon, anchor reflections on the nature of creativity in a world where authors collaborate, even if unwittingly, with machines and networks. In addition, Stefans names provocative new genres—among them the nearly formless “undigest” and the transpacific “miscegenated script”—arguing by example that interdisciplinary discourse is crucial to the development of scholarship about experimental work.
E-bok
Engelska, 20171 057 kr
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An engaging and thought provoking volume that speculates on a range of textual works—poetic, novelistic, and programmed—as technical objects With the ascent of digital culture, new forms of literature and literary production are thriving that include multimedia, networked, conceptual, and other as-yet-unnamed genres while traditional genres and media—the lyric, the novel, the book—have been transformed. Word Toys: Poetry and Technics is an engaging and thought-provoking volume that speculates on a range of poetic, novelistic, and programmed works that lie beyond the language of the literary and which views them instead as technical objects. Brian Kim Stefans considers the problems that arise when discussing these progressive texts in relation to more traditional print-based poetic texts. He questions the influence of game theory and digital humanities rhetoric on poetic production, and how non-digital works, such as contemporary works of lyric poetry, are influenced by the recent ubiquity of social media, the power of search engines, and the public perceptions of language in a time of nearly universal surveillance. Word Toys offers new readings of canonical avant-garde writers such as Ezra Pound and Charles Olson, major successors such as Charles Bernstein, Alice Notley, and Wanda Coleman, mixed-genre artists including Caroline Bergvall, Tan Lin, and William Poundstone, and lyric poets such as Harryette Mullen and Ben Lerner. Writers that trouble the poetry/science divide such as Christian Bök, and novelists who have embraced digital technology such as Mark Z. Danielewski and the elusive Toadex Hobogrammathon, anchor reflections on the nature of creativity in a world where authors collaborate, even if unwittingly, with machines and networks. In addition, Stefans names provocative new genres—among them the nearly formless “undigest” and the transpacific “miscegenated script”—arguing by example that interdisciplinary discourse is crucial to the development of scholarship about experimental work.
Häftad, Engelska, 2006
411 kr
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Before Starting Over is an informal chronicle of several important developments in English-language poetry during the nineties and the turn of the century, most importantly Asian American poetry, digital poetics, and the changing face of poetry’s “experimental” wing. There is nothing pious about the approach: one chapter is a distillation of conversations and controversies that occurred on the internet via the author’s blog, Free Space Comix, while another is largely composed of playful and polemical “poetics” statements geared toward a popular – i.e. non-elitist or -insider – audience. Consquently, nothing is taken for granted, whether it be the efficacy of a central literary Tradition, or the primacy of the “marginal” or aesthetic “lineages” that are valorized in smaller writing communities identifying with either the “avant-garde” or ethnic minorities (or both). Included are several book reviews by the author that attempt to create a language for discussing the most “difficult” poetry of the past fifteen years energetically and engagingly, in a manner that is neither sugared up nor requiring a doctoral degree to decipher. Several interviews discuss strands of “digital poetics” that were not discussed in the author’s Fashionable Noise: On Digital Poetics, especially notions of “hacktivism,” internet publishing and the poetics of the anti-war blog Circulars. All in all, the experience of reading Before Starting Over is in which the reader is invited to disagree, to argue, but most of all to feel as passionate, troubled yet optimistic about poetry as the author, one of the more active and intelligent (uh huh) poets and critics to mobilize both the internet and journalistic print publications to examine and champion emerging strands in writing.