(((I'm unclear as to why the activities described here would want to call themselves "poetry" or "literature," but I guess they'd have to call themselves *something.*)))
(((You won't have to agree with the premises of the argument here
to appreciate those links.)))
http://www.poetryfoundation.org/journal/article.html?id=182942
(...)
"E-literature permits and requires new and different kinds of time-space experience that are inherent in a networked environment. (((Atemporality alert! *pulls up chair*)))
"Print literature plays in many ways with space and time. Its rhetorical tropes let it seem to preview the future, remember the past, reside inside the head of another even while retaining one’s own voice, and so on. Time-space processing in e-lit is of another sort. It encompasses the anomalies that one encounters routinely online, and other kinds of time-space processing that authors set out deliberately to explore, because the computational situation allows them to imagine and build with their (code) writing.
"Among the many possibilities for spatial use of language onscreen are the effects of rotation, pan, zoom, scaling, translation, split screen, flip, pitch, yaw, roll, overlays, speed control, fly-through, highlighting, generativity, micromovement, stratification of content, and navigational choice. Work in actual 3-D gallery or public space opens yet other opportunities. (((Go Marinetti! ZANG TUUM TUMB!!)))
"Among screen options for language time are the ability to pace text’s appearance; the ability to change appearance based on whether it is a first or later reading; and the creation of time lapses, time scans, sequences, replays, freezes, resumption of text, altered speed, interpolation-extension replacements in “real” time (stretch-text), and stroboscopic flashing.
"The works of Young-Hae Chang Heavy Industries, such as “Traveling to Utopia: With a Brief History of the Technology,” play brilliantly with text pacing, stroboscopic flashing, presentation of multiple languages at once, and sound-syncing of text.
"When one considers how time is coded, other choices arise. A keyframe could be considered a privileged instant. (((Alternately, a privileged instant could be considered a "keyframe," in which case history becomes an "event heap." Hey, steampunk metaphysics are great!)))
"Tweening or morphing refers to the movement from one keyframe to the next. How many motion- or deformation- or color-change steps should occur in the 24 seconds that separate images? Each must be handled separately, overlaid on one another. The aesthetic timing of the in-between is taken up explicitly in digital writing as it is not on the page.
"The time of the privileged instant, providing for the time of multiple outcomes, the time for putting things back together, creating new forms of continuity—all of these are aesthetic issues with a poetic history in the play of metamorphoses that return in e-poetry...."
