Review of Stephanie Strickland’s V in Publisher’s Weekly

The following is a quote from a review in Publisher’s Weekly:

“If Brian Kim Stefans’s The Dreamlife of Letters (2000)-a gorgeous send-up of Freud, lettrism and contemporary gender-bending-was the first large-scale poem using the internet animator Flash, then this book by Strickland continues to blaze trails of possibility in a new poetic medium. By putting the soul of this book solely online, Strickland reaches beyond True North (1997), which was developed in both print and hypertext versions, and seeks to fully bridge the gap between print and electronic media. The work’s bound component consists of two sections, “WaveSon.nets” and “Losing L’Una,” printed reversibly (so that either section can be seen as beginning the book, and neither ends it) with a centerfold directing readers to a third, free, interactive section at The printed poems encompass a broad range of thematic concerns-including virginity, body, circuitry, waveforms, wormholes, engineering, parturition, mythology, fractals and witchcraft: “This is hallucinated hearing/ in the service of art, of Arthur’s table,// R2, Artemis,/ and Ursa guarding the Pole./ Welcome, then, Presence, Reflection, Shadow,/ Refraction, She Who Stands,// Gnova, Gnomon, Goose, Ouzel, Orca, Longdark,/ Hardware, Software, Wetware, a Dolphin/ leaping, responding/ to the bare boy on her back.” And as in previous work, Strickland engages with a wealth of scientific, historical and biographical source material, particularly regarding the life and thought of Simone Weil (also the subject of Strickland’s The Red Virgin, 1993). But the point here is the endless combinations created by clicking variously on the Web site’s screen filled with gently twinkling stars, which sets off a process of selection, combination, dissolve, and recombination among lines, phrases and sources in the printed text. Strickland’s interrogation of structure finally outshines her content, but readers will sense that she is also creating space for future work, both by herself and by others, bringing intelligence and legitimacy to a new form.”

New Work at Wordcircuits

About Time by Rob Swigart is an interactive multimedia novella in which two tales unfold 40,000 years apart with richly thought-provoking and entertaining results. And The Dancing Rhinoceri of Bangladesh by Millie Niss. A combinatorial excursion into the textual possibilities of rhinoceri and other matters.

New Media Poetry Conference

“Aesthetics, Institutions, and Audiences” will focus on poetry composed for digital environments and exploring cross-disciplinary and cross-cultural accounts of this work. The aims: “to look at the possibilities for poetry offered by the electronic convergence of words, images and sound highlight the changing contexts in which literature is produced as a result of the electronic word examine emergent reading possibilities and strategies consider some of the new forms of distribution and archiving made possible by the Web.” In attendance will be: Loss Pequeno Glazier, Thom Swiss, N. Katherine Hayles, Carrie Noland, Katherine Parrish, Marjorie Perloff, Barrett Watten, Martin Spinelli, Jennifer Ley, Etinenne van Heerden, Kenneth Goldsmith, Talan Memmott, Christopher Merrill, John Cayley, Al Filreis, Alan Golding, Kenneth Goldsmith, Dee Morris.

Article on Preserving Digital Art Appears in Wired

The article by Kendra Mayefield exposes what all artists in the digital realm already know: that “As the half-life of these media becomes shorter and shorter, variable media art is in a race against technological obsolescence.” The article then continues to explore some preventative efforts currently in progress.

The ELO is also woriking in this important effort. The ELO PAD (Preserving, Archiving, and Dissemination) Project is already in effect and will become more visible in upcoming weeks.