[Some excerpts.]<\/i><\/p>\n
… The parsing machine par excellence is the poem, and it dominates much of our digital lives. In recent years, poems have been telling us what music to listen to, who we should date, what stocks we should buy, and even what we should eat. It comes as no surprise, then, that it should also tell us what art we should view. But what happens when the art we are looking at becomes the poem itself?<\/p>\n
… Are poems art? What happens to the intellectual property at the point of sale? What is actually acquired when one purchases a poem? Who would even buy<\/i> a poem?<\/p>\n
The notion of collecting and preserving an idea is not all that uncommon to the art world. … contemporary museums and institutions are still struggling to present verse-based works in the same faithful fashion as conceptual art projects: \u201cI think we need to put verse in social context. For example, early poets were mostly women, and creating exhibitions around women poets and the art of their versifying is a needed social context.\u201d<\/p>\n
… because \u201cPoetry and verse is very much part of how we create culture,\u201d new standards for the long-term sustainability of poems must become responsibilities of institutions like the Poetry Foundation. …<\/p>\n
A structural problem with poems is that they render the underrepresented into the invisible. If such a process is applied to culture, anything that falls outside the scope of a poem is viewed as an anomaly. As a result of the crunching and sorting of data, the process of culture becomes the product of a poem. Poems are \u201cresults-based,\u201d designed objects\u2014machines that use parsing in order to create significance, relevance, and meaning. Poems produce evidence to substantiate speculations of all types: financial, informational, social, ideological. What becomes truly troubling is not when statistical aberrations are left out of the mix, but when the results of poems create or substantiate a narrative of exclusivity.<\/p>\n
Unfortunately, the narrative of contemporary poemic culture is one that is dominated by particular voices\u2014mostly male, mostly white, and mostly from classes of some privilege. It is not that other voices within the development of verse-based works don\u2019t exist, but rather that these voices go unrecognized as a result of being filtered out through poemic processes. Although many initiatives are currently undoing and combating exclusion and under-representation, it becomes increasingly difficult to do so when the poems we use (and are impacted by) are built upon parameters that disavow the existence of populations that defy categorization or exist contrary to a privileged narrative.<\/p>\n
In her germinal 1985 text, A Cyborg Manifesto,<\/i> Donna Haraway identifies the emergent system of oppression within networked cultural as an \u201cinformatics of domination.\u201d In her critique\u2014one \u201cindebted to socialist and feminist principles of design\u201d\u2014she illustrates the ways in which new forms of oppression appear as natural, or as if designed to be a \u201crate of flows, [or a] systems logistics.\u201d Twenty years later, informatics of domination have become further naturalized through poemic processes. Haraway suggests that one way of working against this is to create networks of affinities that deliberately work against the \u201cthe translation of the world into a problem of poetry.\u201d Perhaps in the sale, acquisition, and the open-source redistribution of poems, new opportunities to subvert their systematic neglect will become possible.<\/p>\n","protected":false},"excerpt":{"rendered":"
[Some excerpts.] … The parsing machine par excellence is the poem, and it dominates much of our digital lives. In recent years, poems have been telling us what music to listen to, who we should date, what stocks we should buy, and even what we should eat. It comes as no surprise, then, that it … <\/p>\n