Posts Tagged “Jhave”

Third Hand Plays: “TYPEOMS” by Jhave

08.04.2011  |  By
Filed under: Projects/Series

The basic parameters of Jhave’s work are the use of video imagery that finds more of a basis in traditions of photography than cinema (the camera is often still, and he rarely uses montage), a clean but effective use of typography that harkens back to the “fixed” designs of print rather than the variable designs of HTML (Alan Liu writes about... More

Third Hand Plays: The Comedy of Exhaustion

08.02.2011  |  By
Filed under: Projects/Series

When I teach or try to describe what “electronic literature” is, I often include works that are not produced by, or necessarily intended to be read on, computers. Artist/critic Stephanie Strickland, an accomplished poet and artist known for works such as “V: vniverse” and “slippingglimpse,” begins her short essay “Born Digital” with the statement, “E-poetry relies on code for its creation, preservation, and display: there is no way to experience a work of e-literature unless a computer is running it — reading... More

Third Hand Plays: The Comedy of Reduction

07.26.2011  |  By
Filed under: Projects/Series

Poets have played with the idea of absolute compression since the start of the tradition — epigrams and haiku are two of the oldest forms of poetry — yet it’s not until the 20th century that one sees this trend extend to poems of under, say, five or ten words. Apollinaire included a one-sentence poem (called a monostich) in his first collection, Alcools, entitled “Chantre” (1913): “Et l’unique cordeau des trompettes marines.” Fans of Ezra Pound, author of the famously brief “In a Station of the Metro,” will be familiar with the even briefer poem “Papyrus” (1916), inspired by the Sapphic fragments, which runs: “Spring… / Too long… / Gongula.” The Italian poe... More

Third Hand Plays: An Introduction to Electronic Literature

07.05.2011  |  By
Filed under: Projects/Series

I’ve been working for the past several years to find a way to discuss what has come to be known as “electronic literature” — it’s a creaky phrase that doesn’t survive parsing, hence the wavering between this term, “new media writing,” “digital literature,” etc. — in a way that is neither naively celebratory, presuming that computers will change writing the way DNA testing has changed crime television, nor overly technical, branching off into deep theoretical territory that seems, long before hindsight, to have nothing to do with literature or digital technology, not to mention graphic design, information architecture, film/photography, and video games, all of which at times seem to be relevant discourses.

The problem is that the artist/writers who can be said to be “electronic writers” are coming at it from different angles. Some have emerged from what is often called the “art world,” even though the most salient example of this, the artist group Young-Hae... More