In a forthcoming essay, entitled Quantum Poetics, Stephanie Strickland outlines issues that inform her digital practice, some of which are:  first, the discovery or refinement of time dimensions, from macroscopic “worldliness,” to engagements at the periphery of attention, to “curled-up” hidden possibilities; second, privileging a paradigm for interaction she refers to as “moving through me as I move”; third, cultivation of a flickering attention, directed not only to components but also to emergent levels; fourth, remolding neuro-cognitive capabilities through digital works; and fifth, a sense of the importance of the practice of translation, understood broadly as encompassing acts of “transduction, transposition, transliteration, transcription, transclusion, and the transformation we call morphing.”

From her first electronic poem, True North [hypertext], Stephanie Strickland has anchored her digital work in a visionary poetics for the electronic medium. When she set out to do the Storyspace interface for True North, published in 1998 by Eastgate Systems, she conceived of her poem as arising not from a two-dimensional grid outline of topics and subtopics but rather from the perspective of encountering an object in curved space. She wanted her words to inscribe arcs, suggest structured labyrinths, and offer glimpses of connection in virtual space. In this work we can see signs of the interests that will recur throughout her e-poetry.

Strickland’s Quantum Poetics

Marjorie C. Luesebrink // aka M.D. Coverley

Ballad of Sand and Harry Soot - Ballad of Sand and Harry Soot

To Be Here As Stone Is - To Be Here As Stone Is

Errand Upon Which We Came - Errand Upon Which We Came

V:  Vniverse - V:  Vniverse

slippingglimpse - slippingglimpse

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