New Media
Poetics: Contexts, Technotexts, and Theories
by Adalaide Morris and Thomas Swiss, Editors
The MIT Press, Cambridge, MA. & London,
England, 2006
416 pp., illus. Trade, $38.00
ISBN: 0-262-13463-2.
Reviewed by Jan Baetens
KU Leuven
Faculty of Arts, Blijde Inkomststraat
21, B-3000 Leuven, Belgium
jan.baetens@arts.kuleuven.be
So fast go the changes in digital technology,
and so fast also their impact on culture,
that the theoretical knowledge of what
we do and learn by simply putting things
into practice stays inevitably far beyond
the practical knowledge of it. The phenomenon
of such a gap between the practical and
the theoretical, or the instinctive and
the categorical, is far from new, and
it has been formulated with impressive
acuteness by Gertrude Stein in a famous
lecture delivered at Amherst College.
Taking as its starting point Steins
insights on the fact that "what is
seen depends upon how everybody is doing
everything", this intelligent and
useful volume, brilliantly introduced
by Adelaide Morris and carefully edited
by herself and Thomas Swiss (the two of
them at the time from the University of
Iowa), makes a more than welcome attempt
to bridge the gap between the two forms
of knowledge mentioned above.
Todays practice is clearly on the
side of Web2.0, which we continue to call
the "interactive" version of
the Internet, yet this term is definitely
inappropriate to catch whats new
in the shift towards newer uses of the
Internet and other digital technologies
and environments. The notion of interactivity
has been put into question by several
major theoreticians (the best-known of
them being Espen Aarseth) of the "pre"Web.2.0
applications, and various contributors
of New Media Poetics attack it
fiercely. However, this collection does
not limit itself to denounce the rear-view
mirror (to follow the metaphor coined
by Marshall McLuhan) that helps us to
enter to future when we rely too much
upon the conceptual tool of interactivity.
It introduces also a whole series of alternative
concepts that fit better our current practices
of digital writing.
Among these concepts, the most salient
are obviously those of "experience"
and of "temporality". The first
one, "experience", aims at broadening
the already traditional idea of "immersion"
that is often associated with digital
culture. Yet contrary to "immersion",
which involves an idea of loss as well
as completeness (one enters completely
a fictional world, in which to behave
as in real life), "experience"
hints to a broader range of sensations
and thoughts, in which self-reflexivity
and the splitting of the self are also
present. And contrary to the more aesthetic
approach of the digital sign as "mobile"
and "dynamic" (in comparison
with the so-called fixity of signs in
print culture), the notion of "temporality"
transfers the temporal dynamics to all
the features and aspects of digital communication
(including the subject itself and his
or her making sense of the active shaping
of the signs during the digital experience).
Moreover, New Media Poetics takes
also sides in favor of a medium-specific
approach of the field, which is also in
sharp contrast with the stereotyped ecumenical
vision of an overall "multimedia"
approach of digital culture in the 1990s.
By doing so, the book follows the tendency,
launched by Lev Manovich and Katherine
Hayles, amongst others, to avoid fashionable
discourses on post-medium hybridization
and to foreground, instead, the multiple
ways that reshape medium-specificity in
the digital Age. Hayless ideas on
"technotextuality" (i.e. the
basic stance that the text is a material
object molded by the formal characteristics
of its carrier and communicational context)
are here rightly passed on to new media
poetry.
New Media Poetics offers the best
currently available overview of poetry
at the new media age (it continues thus
the groundbreaking work on poetry and
media by Marjorie Perloff and Katherine
Hayles, both eminently present in this
book). Besides, it also makes room for
authors that are deeply committed to digital
writing themselves (I am thinking here
of Kenneth Goldsmith, Talan Memmott and
John Cayley, but this enumeration is of
course not exhaustive). Such a move is
extremely valuable. First, it helps to
correct the too rapidly institutionalized
canon of the first generation digital
works: thanks to books like this, with
a focus on Memmots Lexia to Perplexia
or Cayleys riverIsland, it
should become possible to leave behind
the so-called, but unhappily called, golden
age of hyperfiction still deeply rooted
in classic teleological narrative and
print culture (see Michael Joyces
Afternoon, now part of the Norton
anthology). Second, it contributes also
to the sobering observation that there
is much more to find on the Internet than
just the newest, the latest, and the hottest.
The archival function of the Internet
is at least as important, not just for
new media poetry, but for new poetry tout
court. Thanks to the digital archive and
its possibilities for open and free access
(the website that comes here to mind is,
of course, UbuWeb) one can rediscover
many aspects and examples of avant-garde
writing, and one does it in a way that
is much more complete than ever before,
both from a quantitative and from a qualitative
point of view: We finally can read now
so many treasures we only knew from hear-say,
and moreover we can look at them and listen
to them simultaneously.
Like WJT Mitchells "pictorial
turn", which is less the shift from
one paradigm than the opportunity to reread
the whole tradition, the digital turn
in poetry does not draw a line between
poetry in print and poetry on screen.
The great merit of Morriss and Swisss
collection is to remember us this modest
and exciting lesson.