Цифровая поэзия: формы и эволюция

Form of electronic literature
Digital poetry is a form of electronic literature, displaying a wide range of approaches to poetry, with a prominent and crucial use of computers. Digital poetry can be available in form of CD ROM, DVD, as installations in art galleries, in certain cases also recorded as digital video or films, as digital holograms, on the World Wide Web or Internet, and as mobile phone apps. According to Saum Pascual (2019), digital poetry is the artistic heir to the avant garde movements of the second half of the 20th century, including Lettrism, concrete poetry, and conceptual poetry. A significant portion of current publications of poetry are available either only online or via some combination of online and offline publication. There are many types of 'digital poetry' such as hypertext, kinetic poetry, computer generated animation, digital visual poetry, interactive poetry, code poetry, experimental video poetry, and poetries that take advantage of the programmable nature of the computer to create works that are interactive, or use a generative or combinatorial approach to create text (or one of its states), or involve sound poetry, or take advantage of things like listservs, blogs, and other forms of network communication to create communities of collaborative writing and publication (as in poetical wikis). Digital platforms allow the creation of art that spans different media: text, images, sounds, and interactivity via programming. Contemporary poetries have, therefore, taken advantage of this toward the creation of works that synthesize both arts and media. Whether a work is poetry visual art music or programming is sometimes not clear, but we expect an intense engagement with language in poetical works.

Early digital poems include Christopher Strachey's love letter generator (1952), the stochastic texts which were indirectly produced by the German mathematician Theo Lutz in 1959 by programming a Z22 of Konrad Zuse; Nanni Balestrini's "Tape Mark I" in Italian, published in 1961; and Brion Gysin's English permutation poems from around 1959, done automatically with the collaboration of Ian Somerville. These and other early digital poems are discussed in C. T. Funkhouser's Prehistoric Digital Poetry.

Hypertext poetry refers to creative works that are interconnected through the mechanics of digitization. This form of cyberpoetry has a specific focus on visual arts that are connected across different mediums. In general, hypertext poetry combines the elements of culture and intertextuality to marry poetry to various digital mediums such as images, videos, texts, and songs. Hypertext usually falls into two categories: exploratory and constructive. Exploratory hypertext poetry allows users to navigate through a text by interest, engagement, and reflection. Ted Nelson coined the term as he believed printed text would soon be outdated and that literature would move to a more digital sphere. However, there is some disagreement on when exactly the term came to be. "Hypertext" has origins in the 18th century. Moreover, it is believed that Vannevar Bush's description of "the memex" in 1945 also referred to hypertext.