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Poetic MachineS: an investigation into the impact of the characteristics of the digital apparatus on poetic expression. Jeneen Naji B.A. hons M.Sc. Presented for the award of PhD September 2012 Volume 1 of 1 Supervisor: Dr. Patrick Brereton, Dublin City University, School of Communications. 1 I hereby certify that this material, which I now submit for assessment on the programme of study leading to the award of PhD is entirely my own work, and that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed___________________ ID No.:__________________ Date:____________________ 2 “Poetry is always on the limit of things. On the limit of what can be said, of what can be written, of what can be seen, even of what can be thought, felt and understood. To be on the limit means often for the poet to be beyond the frontier of what we are prepared to accept as being possible” (Melo e Castro, 1996: 140). 3 Table of Contents Acknowledgements 7 Abstract 8 Chapters’ Synopsis 9 Chapter 1. Introduction 11 Chapter 2. Digital Theory Literature Review 24 A. ePoetry as eMedia 24 B. Beyond Remediation 27 C. Interactivity 30 D. The Apparatus 32 i. The Interface 34 ii. The Database 35 iii. The Algorithm 37 Chapter 3. ePoetry Past and Present 41 A. ePoetry Timeline 43 B. A History of ePoetry 48 C. What is ePoetry? 51 D. ePoet Interviews - Methods & Rationale 54 Chapter 4. Poetry Transformations 61 A. Poetry & Societal Transformations 61 B. Art Worlds 63 C. Poetry Criticism Revisited 65 i. Simulations of Representations 68 ii. Poetry & Emotions 76 iii. Poetry Structure - Orr’s (1996) Temperaments 80 a. Story 82 b. Structure 83 c. Music 85 d. Imagination 86 e. A Marriage of Contraries – Rationale for using Orr 90 iv. eTemperaments – Orr’s theory revised 92 Chapter 5. ePoems as Translations 97 A. Translation as Communication 97 B. The ePoet as Translator 101 C. Holmes’ Forms of Translation 103 D. Translation and Adaptation 106 E. The Specificity of Poetry Translation 108 F. Nida’s Functional Equivalency 110 G. Reiss & Vermeer’s Skopos Rule 112 4 H. Holmes’ Levels of Translation 116 I. Holmes’ Serial & Structural Planes 120 Chapter 6. Meaning Making in ePoetry 125 A. Visual Communication 128 i. Ten Doors Closing – Sheehan 131 ii. American Bible Society’s eMedia translations of The New Testament 136 iii. The Dead – Collins & Delcan 138 iv. I didn’t know infants in arms until – Petrosino & Weychert 140 v. Backbeat – ARCantú 141 vi. Fallow – Givens & Ong 142 B. Hypertext 144 i. In praise of an elevator – Schroeder & Handplant Studio 149 ii. A Servant. A Hanging. A Paper House. – Anderton & Robinson 151 iii. The Last Day of Betty Nkomo – Young-Hae Chang Heavy Industries 152 iv. The Burning - Dorris & Kuypers 153 v. Ambient Fish – Bergvall 154 vi. Concatenation – geniwaite 156 C. Narrative 159 D. Patterns 164 i. When you reach Kyoto – geniwaite & Stefans 165 E. Co-authorship 167 i. Arteroids – Andrews 169 ii. Hunger – Collins & SamuelChristopher 173 iii. Luz – Glazier, 2006 177 iv. Vniverse – Strickland & Lawson 178 Chapter 7. Conclusions 181 A. What is an ePoem? 181 i. The Essentiality of both the Apparatus and the Human to ePoetry 182 B. eTemperaments - Poetry Criticism Revisited 186 C. The ePoet as Translator 188 D. Future Research Potential 190 E. Limitations of the Research 193 F. Concluding Thoughts 194 Glossary of Terms 198 References 201 Appendices 1 Appendix A. Sample e-mail of initial interview request 1 Appendix B. Claire Allan Dinsmore Interview 3 Appendix C. Bill Dorris Interview 8 Appendix D. Monica Ong Interview 16 Appendix E. Mateo Parilla Interview 21 Appendix F. Nick Robinson Interview 24 5 Appendix G. SamuelChristopher Interview 31 Appendix H. Dylan Sheehan Interview 35 Appendix I. Young-Hae Chang Heavy Industries Interview 39 Appendix J. A Taxonomy of ePoetry 42 1. Generative ePoetry 46 2. Video/Animation Linear ePoetry 46 3. Interactive ePoetry 47 6 Acknowledgements Thank you to: Dr. Pat Brereton - Dublin City University Dr. Bill Dorris - Dublin City University Dr. Roddy Flynn - Dublin City University Dr. Robert Furze - Dublin City University Dr. Kylie Jarrett - National University of Ireland, Maynooth Dr. Tom Lawrence - Dublin City University Trish Morgan - Dublin City University Dr. Catherine Naji - University of Newcastle upon Tyne Dr. Stephen O’Neill - National University of Ireland Maynooth Dr. Stephanie Rains - National University of Ireland Maynooth Thank you also to the ePoets, without whom this work could not have come about. 7 Abstract This thesis aims to investigate digital methods of signification in order to examine the impact of the apparatus on poetic expression. This is done through a critical analysis of the translation process from analogue to digital, in the sense that even as we read a page we are in fact translating sight into sound. The resulting effects of this change in form are explored in order to understand their impact on meaning-making in the digital realm. Through this interrogation the comprehension and definition of ePoetry (electronic poetry or digital poetry) is extended, by exposing the unique affordances and specificities of digital expression. Digital poetry theorists such as Loss Pequeño Glazier posit that the emerging field of electronic literature is composed of interweaving strands from the areas of computer science, sociology, and literary studies. This is reflected in the interdisciplinary nature of this thesis, which necessitates an engagement with the broad areas of translation, literature, and digital media studies. Currently the pervasiveness of digital technology and access to the Internet means that the creation and consumption of online content such as ePoetry is becoming seamless and apparently effortless. Whilst recent studies have explored electronic literature as a field, there is a noticeable deficit of research that specifically focuses on ePoetry, a deficit that this thesis seeks to rectify. Within this work cybernetic and technosocial theories of communication are drawn on which provide as much emphasis on the apparatus, as is afforded to the author and reader. Traditional poetry criticism is problematised with reference to its suitability for application to online works in order to develop a comprehensive ePoetry rhetoric that explores not only what is being said, but also crucially how it is being said. Theories of translation are also used as a context in which to analyse the transposition of poetry from analogue to digital. This framework then forms the basis for a study that explores the move from print to pixel by analysing qualitative ePoet interviews as well as their corresponding ePoems. 8 Chapters’ Synopsis Chapter 1 – Introduction. This chapter provides a rationale for this research as well as introducing the broader issues at play in relation to the academic analysis and structure of this study. The very nature of the Internet and its tools as a context for shaping the evolution of ePoetry is explored. Chapter 2 – Digital Theory Literature Review. This chapter provides a comparative review of the relevant literature from digital theorists. This situates this study within digital theory before moving to the specifics of ePoetry translation and meaning making. This chapter seeks to define the ePoem as an object within the field of digital studies. Most notably the technosocial theories of Weight (2006) are discussed in relation to the ‘technical and social’ restructuring that has taken place in eMedia and their corresponding relevance to the ePoem. Chapter 3 – ePoetry Past and Present. An overview of the field of ePoetry past and present is provided in this chapter. It begins with a timeline and a brief account of the history of ePoetry. An explanation then follows regarding what exactly ePoetry is as well as how it is defined and categorised within this thesis. Subsequently the methods and rationale for the ePoet interviews are laid out. This chapter is essential as an introduction and explanation of ePoetry within the emerging field of electronic literature as well as providing an understanding and rationale of where this thesis is placed within this developing field. Chapter 4 – Poetry Transformations. This chapter looks at the extent to which traditional poetry criticism can still be applied to ePoetry. It begins by providing a broad overview of poetry and societal changes towards situating the development of ePoetry within a broader social and historical context. Various forms of poetry criticism are then outlined and reviewed in light of the specific affordances of ePoetry. In particular this chapter examines the impact that interactivity and the digital environment have on Orr’s (1996) form giving temperaments of story, structure, music and imagination. Responses from ePoet interviews are also used to assess practice and its underpinning theory. 9 Chapter 5 – ePoems as Translations. This chapter asks to what extent the process and theories of traditional poetry translation can be applied to the creation of ePoetry. Holmes’ (1994) theories of translation are used most especially as a framework in which to analyse the process of creation of ePoetry, along with first-hand evidence from ePoet interviews carried out specifically for this thesis. Chapter 6 – Meaning Making in ePoetry. This chapter is concerned with an in depth analysis of ePoetry examples, and ePoet interview responses in order to develop an understanding of the specific methods of signification used in the ePoetry examples examined in this investigation. The broad characteristics of ePoetry are identified in order to understand how they impact on meaning making. In addition to this, other practitioners and theorists whose work is central to the question of both the creation of ePoetry and the potentials for translation of existing poetry into the eMedia, are examined.

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