Techno-poetry and virtual realities

Caterina Davinio: Tecno-poesia e realta virtuali
Techno-poetry and virtual realities
http://xoomer.virgilio.it/kareninazoom/daviniobook.htm
Contents:
International video-poetry, computer poetry, web and net poetry in the 90s (130
INTERNATIONAL ARTISTS + a special section dedicated to all the video
compilations and festivals curated by Caterina Davinio the 90s).
To order the book write to:
Claudio Preziosi
C/o Davinio Art Electronics
Via Sassi 10
23900 Lecco (LC) - Italia
A limited number of free copies for:
journalists, cultural centers, libraries,
archives, universities, etc.
ESSAY
Language: BILINGUAL ITALIAN / ENGLISH,
Publisher: SOMETTI, MANTOVA (I) 2002
Preface: EUGENIO MICCINI
Collection: Archivio della Poesia del 900
Volume: 13-14
pp. 320
ISBN 88-88091-85-8
PRICE: EURO 14 + mail costs
CONTENTS
Techno-Poetry and Virtual Realities.
History, Theory, and Experiences, in Writing, Visuality, and New Media
•
A route in the 90s
•
Video-performance and performance in video
•
Videopoetry
•
Video-Visual Poetry
•
Computer poetry
•
Hypertext, Hypermedia, Interactive Pages, Generative Writing
•
CD ROM Poetry
•
The Hypertext in the net. A performative attitude
•
Hierarchy, interactivity and collective creation
•
Some common features
•
Net poetry, e-mail poetry, SMS poetry and poetry in phatic
function
•
Art as communication and stratification of the virtual object. A
concrete electronic data processing
•
The object in the hypermedia and in the net
•
Conclusions
Artists' List:
COMPUTER POETRY, HYPERMEDIA AND INTERNET
In this section there are artists and groups who produced hypertexts and
hypermedia for CD-ROM or for Internet, generative writing, web projects or
net poetry; authors are also included who realized digital visual poetry,
animations and holograms using the computer.
EDUARDO KAC (Brasile)
DAVID DANIELS (USA)
AGRICOLA DE COLOGNE (Germania)
AKENATON (Francia)
ANA MARIA URIBE (Argentina)
JEAN-PIERRE BALPE (Francia)
PHILADELPHO MENEZES (Brasile)
AUGUSTO DE CAMPOS (Brasile)
ANDREJ TISMA (Jugoslavia)
JASON NELSON (USA)
JIM ANDREWS (Canada)
JUDSON WRIGHT (USA)
LUCIA LEAO (Brasile)
KARENINA.IT (Internazionale)
DANIEL YOUNG(USA)
PATRICK-HENRI BURGAUD (Paesi Bassi)
STANZA (UK)
REINER STRASSER (Belgio / Germania)
VALERY GRANCHER (Francia)
DAVID KNOEBEL (USA)
JULIEN D'ABRIGEON (Francia)
OLIVIER AUBER (Francia)
JIM ROSENBERG (USA)
WILTON AZEVEDO (Brasile)
JAKA ZELEZNIKAR (Slovenia)
ALCKMAR LUIZ DOS SANTOS & GILBERTTO PRADO (Brasile)
JORGE LUIZ ANTONIO (Brasile)
FATIMA LASAY (Filippine)
REGINA CELIA PINTO (Brasile)
ALVARO ANDRADE GARCIA (Brasile)
FABIO DOCTOROVICH (Argentina)
TOMMASO TOZZI - STRANONETWORK (Italia)
GENCO GULAN (Turchia / USA)
ROBERT KENDALL (Canada)
DEENA LARSEN (USA)
LOSS PEQUEÑO GLAZIER (USA)
MIEKAL AND (USA)
PANOS KOUROS (Grecia)
JORG PIRINGER (AUSTRIA)
TAMAS WALICZKY (Ungheria)
CATERINA DAVINIO (Italia)
PERFORMANCE AND PERFORMERS
(Performance in video, video-performance, computer performance, performance
in Internet)
This section presents very heterogeneous artists referring to used media and
research results, which go from the video document to low definition analog
video, to digital elaborations, to multimedia performance, environments and
installations, performances in Internet. The common aspect is the centrality
of the body and/or of the voice, of sound and gesture aspects of the
concrete presence, even if some of the artists have realized also
not-performative works.
TIBOR PAPP (Ungheria)
DMITRY BULATOV (Russia)
PHILIPPE CASTELLIN (Francia)
THANASIS CHONDROS E ALEXANDRA KATSIANI (Grecia)
BARTOLOME FERRANDO (Spagna)
ENZO MINARELLI (Italia)
XAVIER SABATER (Spagna)
NICHOLAS TARDY - CAROLINE SCHERB (Francia)
MURIEL MODR (Francia)
JOACHIM MONTESSUIS (Francia)
VOLKER SCHREINER (Germania)
MASSIMO MORI (Italia)
LUISA SAX (Italia)
EMILIO FANTIN (Italia)
CLEMENTE PADÍN (Uruguay)
JEAN -CLAUDE GAGNON (Canada)
NINA ZIVANCEVIC (Jugoslavia / USA)
ENNO STAHL (Germania)
GINESTRA CALZOLARI (Italia)
NICOLA FRANGIONE (Italia)
FERNANDO AGUIAR (Portogallo)
JACQUES DONGUY (Francia)
JEAN MONOD (Francia)
WOLFGANG ZIEMER (Germania)
ELLIOTT LEVIN - DIRK BRUINSMA - STEPHEN BUCHANAN (USA)
RYSZARD PIEGZA (Polonia)
CHARLES DREYFUS (Francia)
MARK SUTHERLAND - NOBUO KUBOTA (Canada)
VIDEO
(Videopoetry, filmic poem an poem-video, computer video, video-visual
poetry)
This part of the book encloses artists which have produced heterogeneous
works regarding the techniques, which see a predominant use of audio-visual
media in the form of the video, also digital, realized for the projection
and for the installation.
ARIADNA CAPASSO, NORA CÉSAR, DAMIÁN KELLER (Argentina)
ANNA ALCHUK - OLGA KUMEGER - SERGEY LETOV (Russia)
ALESSANDRA CELLETTI (Italia)
ORBITA (Latvia)
AGATA CHIUSANO (Italia)
ROBERTA TORRE (Italia)
CLAUDIO PALETTO (Italia)
ARNALDO ANTUNES (Brasile)
GIUSEPPE ZIMMARDI (Italia)
JENNIFER BOZICK (USA)
KEVIN MC COY (USA)
MONICA PETRACCI -TECNICHE BLU (Italia)
ANTONIO REZZA - FLAVIA MASTRELLA. (Italia)
FABIO IAQUONE (Italia)
MICHEL CHION (Francia)
MARINA GRZINIC - AINA SMID (Slovenia)
GARY HILL (USA)
MARIA KLONARIS-KATERINA THOMADAKI (Grecia / Francia)
USMIS (Italia)
ELISABETTA FILOCAMO (Italia)
ALESSANDRO AMADUCCI - ARRIGO LORA TOTINO (Italia)
GIORGIO LONGO (Italia)
CHRISTINE RHEYS (Francia)
BRICE BOWMAN (USA)
HALSEY BROWN (USA)
JAVIER ROBLEDO (Argentina)
ANTAL LUX (Germania)
VONDA YARBERRY - JOHN PRESCOTT (USA)
SEBASTIEN PESOT (Canada)
CLAUDETTE LEMAY (Canada)
JOANNA EMPAIN (Canada)
ROBIN DUPUIS (Canada)
BEATRICE BABIN (Germania)
GIANNI TOTI (Italia)
WALTER UNGERER (USA)
ARIAS & ARAGON (Perù)
ISABELLE HAYEUR (Canada)
ROLAND BALADI (Egitto)
GEORGE AGUILAR (USA)
GIOVANOTTI MONDANI MECCANICI (Italia)
DON RITTER (Canada)
GIACOMO VERDE (Italia)
CÉSAR MENEGHETTI (Brasile / Italia)
APPENDIX
In the Appendix can be found some of the projects and festival curated by
Caterina Davinio in the 90s until 2002 (with all the names of participating
artists).
- Art Electronics and Other Writhings / Electronie d'arte e altre scritture, itinerant
festival, 1994-95,
- After Electronic Art: the New Experimentation / Oltre le arti elettroniche, la nuova
sperimentazione, Museo Pecci, 1995
- Electronic Poe(try)Visions / Poevisioni elettroniche, itinerant festival, editions: 1996,
97, 98,
2000,
- Virtual Words / Parole Virtuali 99 (48th Biennale di Venezia),
- Techno-Poetry 2001 (Le tribu' dell'arte, Galleria Comunale d'Arte Moderna
e Contemporanea, Roma),
- Parallel Action - Bunker / Azione Parallela (on line) - Bunker Poetico (49ma Biennale
di Venezia),
- Poetry Bunker / Bunker Poetico (100 experimental poets chosen by Karenina.it, 49th
Biennale di Venezia),
- Global Poetry 2002 (net-poetry project, Giornata Mondiale della
Poesia, UNESCO).
CREDITS
Thank-you to everybody who during the years supported my work, to the
artists included in this publication for the iconic and textual material
necessary for the writing. José-Carlos Mariategui and CICV for the contents
of Gianni Toti 's pages, Patrick Zanoli for the frame taken from
Gramsciategui ou les poesimistes, Jorge Luiz Antonio, and Thomas Bell, for
helping me in the English translation.
Special thanks to Eugenio Miccini, who wanted this book, first Italian
publication dedicated to the research in electronic art connected with the
experimental poetry and with its multiform language.
THE AUTHOR
Caterina Davinio is computer artist, writer, curator. She studied Italian
Literature at Roma University I "La Sapienza". During the 90s she organized
festivals and meetings in many Italian cities, creating a bridge between the
experimental poetry and the circuit of electronic art. She was one of the
first poets who realized animated poetry with the computer in Italy, in
1990. Since 1998 her work appeared in Internet with collaborative projects,
among them Karenina.it, become an international point of reference of poetry
avant-garde. She presented world-wide her work in biennials and festivals
(in more than 70 exhibitions), has published essays about new media poetry,
catalogues, poems and computer poems, a novel (Còlor còlor, 1998). Present
in hundreds of web pages and sites, among them "NY Art Magazine" and
"Rhizome" (NY), and in art and literature experimental reviews (paper and
software): "BoXon" (F), "Doc(K)s" (F), "Art on Line" (Brazil), "JavaMuseum"
(D), and many others.
THE LAST CHAPTER OF THE ESSAY
The effort, which was of the avant-garde, to bring poetry out from the
page, drives it through the new media sea, taking it back to the oral
and theatrical forms of the origins, of which could be possible to
record in digital every visual, sound, kinetic aspect, and, otherwise,
condenses the oral in the writing which is actuated by SMS, e-mail,
mailing lists, chat lines; but the total liberation of the words risks
to become a new captivity because of hyper technologies, able to
produce an ambient-page in which texts, objects and experiences could
be closed again. But neither the peculiarities of the electronic work
as "in progress" object, nor the detachment originated by the
interactivity as selection of the route, intrinsic to the hypertext,
are able, as instead optimistically someone thinks, to make the
user/reader protagonist, because an hedonistic fruition is accentuated
by the spectacular nature of the hypermedia, of the total art-work,
and by the awareness to act in the virtual worlds within the limits of
a narrative pact without risks, or disseminated of false incidents
like in the graphic of a videogame. In my lecture "Writing/Virtual
realities", in November 2000,1[1] based on many of the contents
proposed again in this essay, I asked to me, as already at the
beginning of the 90s, if, optimistically certain that the new medium
is just a new message, we would frequent the virtual worlds with the
same "revolutionary" disposition of people who telephone to answer a
television quiz or to choose the favorite song, considered that, if it
is certainly true that the medium is the message, is worth the effort
to become even certain that it is not a reactionary message...
Many years after the first experimentation in Italy of virtual reality
in the fine arts, use that declared the death of the "representation",
caused by the hypertrophy of the electronic image itself, it seems
that only few initiated have realized the different nature of forms
and visions in circulation in the media world, and the experimental
poets are called to enter the field again to defend the word from the
restoration of the page - also if it is presented in the attractive
and ambiguous possibilities made available by the hypermedia - from
the transposition in digital of images, texts and even avant-garde and
neo-avant-garde performances.
The present study, exploration of what is emerged or is appearing in
the Italian and international landscape, contribution to the debate,
under way also in the visual arts, is born with the aim to bring
clearness in the experimentation area, generically defined for more
than a decade "videopoetry", and in the more recent field of what is
called "net-poetry" only because published in Internet, place in which
are converging products derived from opposite art theories and
processes, condensed in identical digital objects, which finally come
into the same circuit of festivals, dense of contrasts and of apparent
similarities. The myopia of curators and critics towards a world that
changes too quickly to allow also a turnover in the top level of the
culture, a world characterized not only by the use of technologies in
the arts, but by a multiplicity of experiences and angulations from
which is possible to watch them, has a reason: the not much sincere
interest in the electronic poetry, as generally known, a non lucrative
field, as every kind of art based on virtual actions, on e-mail
exchange or files that everybody can clone and modify.
Some artists posed the problem and tried to protect their sites, to
sell them to canonical institutions, as the museums, allowing the
access by payment, missing the original spirit of an art that had as
bases opening, participation, capability to go through and to be
crossed from realities and experiences; there is who, on the opposite
front, theorizes the end of the individuality of the author, takes up
a position against the copy right, in favor of the anonymity, of the
hacker action and, as provocation, of the plagiarism.
For what concerns specifically net poetry, paradoxically contributes
to the distortion of its meaning the growing curiosity it arouses and
its presence in festivals that deal with something other: in the field
of literature, today as yesterday, with reading of "paper"-texts and
with performances that see on stage the same performer of ever, in
traditional shows on which multimedia are superimposed, very far from
the pure gesture, from the vocal expression of the origins, from the
nude and crude glottides movement of the sound poet, who, with the
virtuosity of his own uvulas deal definitively a blow to a poetry made
of symbolic language, to stretch the primary energy of the voice, as
an extension of the body, toward the spectator, without going through
the lexical and syntactical mind. If we go deeply into the mechanisms
that give life to that process, we are not very distant from the light
(and "phatic") touch of the mouse button that allows to us to reach
someone who lives in the opposite hemisphere of the planet and to do
"poetry" without going through the reasons of literature.
I never deeply believed in the innovative capability of an egocentric
scenic presence of the performer in the performance, no matter if
surrounded or not by technologic sceneries, because I thought, since
the beginning of the 90s, the idea of presence was put in discussion
by the dematerialization and dislocation, to whom the virtual reality
and the web force the body.2[2] And, also as an artist, I routed a new
notion of presence, based on "remote" poetry actions, realized in
collaboration with groups and single artists.3[3]
I think, in short, that the antidote to the false revolutions is to
begin not from the enthusiasm for the future, but from a re-reading of
a past which is still living in the present: the lucidly desecrating
poetry that in the 60s faced the mass society, the advertisements, by
assuming in an unexpected and polemic way their stereotypes, by
actuating a continuous meta-linguistic somersault, breaking the poetic
aura - of which, everyday more, digital works in high definition are
surrounded -: the discourse became fragmented, the grimace was
exasperated, deformed, contaminated with not verbal elements,
producing the visual, sound, performative poetry,
ambient/installation-poetry, created by artists, really so different
from each other, as Mirella Bentivoglio, Julien Blaine, Tomaso Binga,
Eugenio Miccini, Luca Patella, Lamberto Pignotti, and many
international others, who have developed, in an original and
differentiated way, experiences by Fluxus, conceptual art, concrete
poetry and Lettrism.
What I tried to do, in Internet and out, was to create a bridge
between the experimental poetry and the electronic art, that at the
end of the 80s in Italy was still independent video, and in the 90s
gradually became digital video, computer art, CD art, web art, netart, with everything that the disloc/action of the body in the net
brings in the notion of performance.
It is anyway in front of everybody that the "visual" have become the
kingdom, if not of the ugly, at least of the worrying, of what appears
not adapt to an hedonistic fruition, and arrives to a negation of the
visual self, forcing us sometimes to the unpleasant - the aim is
really other than the one to épater le bourgeois of the avant-gardes:
are aware, the artists, to be not in front of a generic public of
conformist burgers, but in front of shrewd experts not ready to be
scandalized by something - the ugly and the unpleasant as disturb
elements in the communication, able to produce communication following
an internal logic proper of the process; this happens while the world
of the advertising and of commerce, of which the visual and
performative poets mimicked the low register and the rhymes,
appropriated itself, with few exceptions, in a persuasive way, of an
electronic esthetics devoted to the formal perfection, to the digital
sharpness. From this fact we should really draw our own conclusions.
For not returning back to a re-codification of the “fine” is necessary
to place a limit between the "concrete" electronic image, net-poetry,
and what, on the contrary, are the archives of digitalized art, the
magazines and reviews on line, the pointless animation games, the
interactive machines which take possession of our monitor to surprise
us with special effects, the run-up to the up-to-date graphic
software.
The net-artists experiment with a very heavy substance, more heavy
than marble and than bronze, the one of the communication flux, going
into the heart of the digital language and in the grammar of the
software, to force them towards distorted finalities compared to those
one for which they were planned. The difference between "electronic
image" and "concrete electronics" can be than observed
contemporaneously at a level of formal choices, which we have
examined, characterized by the accentuation of the relational and aniconic aspect, and in the field of the contents, where the theoretical
discourse has overwhelmed the production of visible forms and the
critic seems to have won the match against art, theory merges itself
with the esthetic element and substitutes it, but also celebrates the
emancipation of the artist-writer from the criticism, and the
achievement of an art based on the word.
The considered accentuation of the relational and an-iconic factor
brings the work to be contaminated with the society, with politics,
and, in the opposite field, to valorize the function of the language,
that Jakobson defined "phatic", aimed to keep open and operative the
channel between sender and receiver, to verify its functioning. The
vocation to the hypertrophy of the communication and at the same time
to its annulment can be perceived in many mailing lists, news letters,
forums and news groups promoted by artists and poets, above all in the
use that of them is made, objectively devoted to realize the contact
more than to transfer real information: apart from the emblematic
example of the SMS, everyone can experiment how, by managing a great
number of e-mail messages, the reading is generally conducted
randomically and very often abandoned after few lines.
Finally, the knowledge of the rules of the “electronic” game can avoid
the net to become a place of mere accumulation and conservation. The
invoked participation of the viewer and opening of the work are
generated effectively not only, as someone means, by intrinsic
qualities of the electronic art, but trough the collision with
"anomalous" "unidentified" objects of poetry, constructed by web
poets, of which this book presents a very rich and various catalogue;
through the healthy jolt provoked by these wandering mine in the media
sea, but also with all that, as history, art and criticism, there is
behind, maybe it is possible to awake the viewer, our self, from the
wonder, and to recompose the sense of the discourse in the
disloc/actions in the virtual spaces, a meaning that starts again from
the relationships between persons.
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ALTRI SITI D'INTERESSE:
Ars Electronica Center Linz www.aec.at
Zentrum für Kunst und Medientechnologie in Karlsruhe www.zkm.de
Dia Center New York www.diacenter.org
PLEXUS www.plexus.org/omnizone
New technologies for artists www.artnetweb.com
SIGGRAPH www.siggraph.org
Musée d'art contemporain de Montréal http://media.macm.qc.ca
CICV Pierre Schaeffer www.cicv.fr/
EPC - Electronic Poetry Center http://wings.buffalo.edu/epc/
Multimedia Art Asia Pacific http://www.maap.org.au/
Davinio Art Electronics http://space.tin.it/arte/cprezi/
ELO - Electronic Literature Organization www.eliterature.org/index2.html
Source for hypertext www.eastgate.com/
The Electronic Labyrinth Hypertext
http://jefferson.village.virginia.edu/elab/elab.html
Stuart Moulthrop http://raven.ubalt.edu/staff/moulthrop/
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