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Poezja w ekologii mediów (na przykładzie hybrydycznego projektu "V")

100%
Górska-Olesińska M.
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
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2010
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issue 1
102-111
EN
Contemporary culture, shaped by electronic media, is described in the context of the category of hybridity. Such hybridity is manifested in the coexistence and mutual conditioning of the traditional forms of literacy based on print as well as texts produced in an electronic environment. This article discusses V, a multimedia poetry project by Stephanie Strickland, in which print and electronic textuality are purposefully brought together, placing the recipient’s experience in the inter-spaces (in-between) which are thus opened. Issues relating to the materiality of media technologies used by the authors of experimental poetry as well as the question of combining the bodily perception with the architecture of electronic text are particularly important to the matters discussed in the article.
2
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„Na skrzyżowaniu dwóch wrogich epok stoję, cynicznie gryząc papieros”. O tekstowych projekcjach twórczości futurystów w relacji do ich postaci multimedialnych na przykładzie Marsza Bruno Jasieńskiego

88%
Graf P.
pl.it / rassegna italiana di argomenti polacchi
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2016
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issue 7
77-91
EN
The article focuses on the media transformation of literary works. B. Jasieński’s futurist poem Marsz, published in the interwar period in printed form, recently underwent a multimedia adaptation. The author analyzes the mutations the literary text underwent in interpretation and significance when expressed in the new creative forms of contemporary multimedia “language”. The analysis of the formal structure and of several, sometimes small semantic elements, shows the different way of understanding the poem as expressed through new multimedia means. The futurist poem Marsz has been read as an ironical poem, totally contradicting its original literal meaning. The second part of the article examines a digital version of the poem, which again changes its original meaning. At this moment in time, the relationship between the textuality and virtuality of poetry (and literature in general) constitutes the main space where art “happens” and manifests itself. Thus, the discussion over the digital version of Jasieński’s poem leads to some general considerations about contemporary theory of image and its anthropological expressions.
3

Poetry in Transmedial Perspective: Rethinking Intermedial Literary Studies in the Digital Age

75%
Schaefer H.
Acta Universitatis Sapientiae, Film and Media Studies
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2015
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vol. 10
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issue 1
169-182
EN
In the digital age. literary practice proliferates across different media platforms. Contemporary literary texts are written, circulated and rea|d in a variety of media, ranging from traditional print formats to online environments. This essay explores the implications that the transmedial dispersal of literary culture has for intermedial literary studies. If literature no longer functions as a unified single medium (if it ever did) but unfolds in a multiplicity of media, concepts central to intermediality studies, such as media specificity, media boundaries and media change, have to be reconsidered. Taking as its test case the adaptation of E. E. Cummings’s experimental poetry in Alison Clifford’s new media artwork The Sweet Old Etcetera as well as in YouTube clips, the essay argues for a reconceptualization of contemporary literature as a transmedial configuration or network. Rather than think of literature as a single self-contained medium that engages in intermedial exchange and competition with other media, such as film or music, we can better understand how literature operates and develops in the digital age if we recognize the medial heterogeneity and transmedial distribution of literary practice.
4
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"Wiersz numer 1 beta" M. R. Wiśniewskiego i "Read more+" P. P. Płucienniczaka

63%
Akram S.
Acta Humana
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2018
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vol. 9
EN
The article fits in the research on Polish digital poetry. It presents two realisations of digital poetry – wiersz numer 1 beta by M.R. Wiśniewski and Read more+ by P.P. Płucienniczak, focusing on aspect of work’s structural shape and possibilities of the user, given within interactive actions programmed by the author. The issues of the article are concentrated on interactive possibilities of work created in new media environment, especially on status of author and addresser, which is connected with interactivity phenomenon. Deliberations about the interactivity are based on works of Ryszard W. Kluszczyński, whereas changes made in poetry thanks to characteristics of new media were referred from works of such researchers as Urszula Pawlicka and Mariusz Pisarski. Deliberations on digital message refer mainly to works of Ewa Szczęsna. Two examples analyzed in the article represents different approaches of explorative potential of Polish digital poetry. Wiśniewski’s wiersz numer 1 beta, made in convention of game, includes the addresser as user-player in the process of work’s creation. Płucienniczak’s Read more+ is the example of intentional resignation of possibilities given by interactive actions.
PL
Artykuł wpisuje się w badania nad polską poezją cyfrową. Przedstawia analizę dwóch realizacji poezji cyfrowej – wiersza numer 1 beta Michała Radomiła Wiśniewskiego i Read more+ Piotra Puldziana Płucienniczaka, skupiając się na aspekcie strukturalnego ukształtowania utworu oraz możliwościach odbiorcy-użytkownika, jakie w ramach zaprojektowanych działań interaktywnych otrzymuje on od autora. Problematyka artykułu koncentruje się wokół zagadnień interaktywnych możliwości utworów powstających w środowisku nowych mediów, przede wszystkim zaś wokół statusu autora i odbiorcy, z czym wiąże się zjawisko interaktywności. Ustalenia dotyczące tego pojęcia oparte zostały na pracach Ryszarda W. Kluszczyńskiego, natomiast zmiany, jakie dokonały się w poezji za sprawą właściwości nowych mediów, przywołano na podstawie publikacji takich badaczy jak Urszula Pawlicka i Mariusz Pisarski. Rozważania dotyczące przekazu cyfrowego zreferowano głównie za Ewą Szczęsną. Analizowane w artykule dwa utwory cyfrowe to przykłady różnych kierunków potencjału eksploracyjnego polskiej poezji cyfrowej. Wiersz numer 1 beta Wiśniewskiego, zrobiony w konwencji gry, włącza odbiorcę jako użytkownika-gracza w proces powstawania utworu. Read more+ Płucienniczaka to z kolei przykład świadomej rezygnacji z możliwości, jaką dają interaktywne działania.
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