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"Living Letterforms": The Ecological Turn in Contemporary Digital Poetics

"Living Letterforms": The Ecological Turn in Contemporary Digital Poetics RITA RALEY faut-il se rappeler que l'on peut n'etre seul ^ parmi cette autre multitude it comes to one thing one cannot be alone amongst the multiple beings David Jhave Johnston, Sooth he work of Canadian artist David Jhave Johnston--in Teleport, subtitled "a tiny tale of inter-body tourism," in his post-Fukushima Extinction Elegies, and particularly in his video poem, Sooth--contains in miniature many of the central themes and formal features of digital poetry as it evolved over the course of the last decade. If Talan Memmott's poetic practice, specifically in his well-known Lexia to Perplexia, exemplified the self-reflexive engagement with inscription technologies particular to "writing machines" at the turn of the millennium, Jhave's practice is paradigmatic of work after 2000 in its enactment of a different type of media ecology, one not exclusively concerned with human-computer interactions or computational processes.1 In its articulation of an ecological matrix of natural spaces and built environments and a diversity of life forms, Jhave's practice also serves as an important counter to the "narcisystem," Memmott's neologistic formulation for our fetishistic attachment to the enclosed circuits linking the human I am tremendously indebted to David Jhave Johnston, Russell Samolsky, Mark Z. Danielewski, and http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Contemporary Literature University of Wisconsin Press

"Living Letterforms": The Ecological Turn in Contemporary Digital Poetics

Raley, Rita.
Contemporary Literature , Volume 52 (4) – Apr 13, 2011
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Publisher
University of Wisconsin Press
Copyright
Copyright © 2011 the Board of Regents of the University of Wisconsin.
ISSN
1548-9949
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Abstract

RITA RALEY faut-il se rappeler que l'on peut n'etre seul ^ parmi cette autre multitude it comes to one thing one cannot be alone amongst the multiple beings David Jhave Johnston, Sooth he work of Canadian artist David Jhave Johnston--in Teleport, subtitled "a tiny tale of inter-body tourism," in his post-Fukushima Extinction Elegies, and particularly in his video poem, Sooth--contains in miniature many of the central themes and formal features of digital poetry as it evolved over the course of the last decade. If Talan Memmott's poetic practice, specifically in his well-known Lexia to Perplexia, exemplified the self-reflexive engagement with inscription technologies particular to "writing machines" at the turn of the millennium, Jhave's practice is paradigmatic of work after 2000 in its enactment of a different type of media ecology, one not exclusively concerned with human-computer interactions or computational processes.1 In its articulation of an ecological matrix of natural spaces and built environments and a diversity of life forms, Jhave's practice also serves as an important counter to the "narcisystem," Memmott's neologistic formulation for our fetishistic attachment to the enclosed circuits linking the human I am tremendously indebted to David Jhave Johnston, Russell Samolsky, Mark Z. Danielewski, and

Journal

Contemporary Literature – University of Wisconsin Press

Published: Apr 13, 2011

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