Digital poetry

Digital platforms allow the creation of art that spans different media: text, images, sounds, and interactivity via programming.

[2] 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;[3] Nanni Balestrini's "Tape Mark I" in Italian, published in 1961;[4] and Brion Gysin's English permutation poems from around 1959, done automatically with the collaboration of Ian Somerville.

Exploratory hypertext poetry allows users to navigate through a text by interest, engagement, and reflection.

This poetry is built by an audience over time to create a fully fleshed-out final draft.

[9] Ted Nelson coined the term as he believed printed text would soon be outdated and that literature would move to a more digital sphere.

[9] While there are a variety of factors that have caused hypertext to be as well known as it is today, its popularization can be traced back to two particular events.

[9] In addition, there was a large national conference on hypertext held in 1987, drawing participants from multiple studies and disciplines.

Elit scholar, Scott Rettberg writes of this project "Nanette Wylde’s haikU (2001) is a project based on principles of user participation and on the use of a randomizing function to produce haiku that startle in the sense of producing unintended juxtapositions—no single author has determined which lines will appear together.

Reloading the page twenty times or so, it is remarkable how many of the poems read as if they have been individually intended by a human intelligence.