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I want you to do me

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by

Dani Spinosa

on 12 October 2016

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Transcript of I want you to do me

I want you to do me
Jim Andrews and New Media Poetry
D. Spinosa 2016
But each object might have various properties in addition to its usual appearance and meaning and place amid other words. My piece Seattle Drift is an example of such a text. When you click the text that says "Do the text", the words in the poem eventually drift independently off the screen. Each word has its own behavior, its own partially random path of drifting off the screen. Each word is a kind of little language widget, langwidget.

(Andrews, “Digital Langu(im)age -- Language and Image as Objects in a Field”)
The tenor in this brief poem is informal and suggestive of a relationship between reader and text which might be interpreted as similar to parent and child or sadistically between two lovers, which in a sense reverses the power relationship between reader and poem, as the poems gives the order (in the command ‘Do me’) and the reader follows by clicking on the words on the screen.

(Paula Trimarco, Digital Textuality 89)
There seem to be several possible ways in which "Seattle Drift" might vary depending on the particular technology on which the HTML is displayed. ... As a performative experience, the poem is not medium-neutral: changing the medium on which it runs also changes the range and representative possibilities of the poem.

(Alistair Brown, "Reading the Source of 'Seattle Drift'")
The irony intermedially results from the contrast between the naming of the lost original disposition (which the reader reads) and the result of restoring it (which the reader sees): I drifted from the scene, says the poem when it is in proper order, but ends up all the more in the void when you try to help it. As if the order of the lines went against the real order of being, an order of permanent shifts and of the unspeakable. As the theory of différance, whose playful adaption "Seattle Drift" seems to be, tells us, to name something is to reduce it.

(Roberto Simanowski, "Fighting/Dancing Words: Jim Andrews's Kinetic, Concrete Audiovisual Poetry")
"Seattle Drift" “exposes language in its rhetorical-tropological elusiveness, which makes any (authorial, interventional) control over the text illusionary”

(Katalin Sándor, "Moving (the) Text: From Print to Digital," 150)
Works Cited

Brown, Alistair. “Reading the Source of ‘Seattle Drift.’”
The Pequod Blog
,15 September 2012, http://thepequodblog.blogspot.ca/2012/09/reading-source-of-seattle-drift.html.

Davidson, Ian.
Ideas of Space in Contemporary Poetry
. Palgrave MacMillan, 2007.

Flores, Leonardo.
Typing the Dancing Signifier: Jim Andrews’ (Vis)Poetics
, University of Maryland, College Park, 2010.

Hayles, N. Katherine.
Electronic Literature: New Horizons for the Literary
. U of Notre Dame P, 2008.

Sándor, Katalin. “Moving (the) Text: From Print to Digital.”
Between Page and Screen: Remaking Literature Through Cinema and Cyberspace
, edited by Kiene Brillenburg Wurth, Fordham UP, 2012, pp. 144-156.

Simanowski, Roberto. “Fighting/Dancing Words: Jim Andrews’ Kinetic, Concrete Audiovisual Poetry.”
Dichtung Digital
, translated by Florian Cramer, 26 November 2001, http://dichtung-digital.de/2002/01/10-Simanowski/cramer.htm.

Trimarco, Paola.
Digital Textuality
. Palgrave MacMillan, 2015.

http://www.vispo.com/animisms/SeattleDriftEnglish.html#
moveMe(document.getElementById('SEATTLE').style, 4, 2);
moveMe(document.getElementById('DRIFT').style, 3, 2);
moveMe(document.getElementById('Im1').style, 4, 1);
moveMe(document.getElementById('a2').style, 5, 3);
moveMe(document.getElementById('bad3').style, 3, 3);
moveMe(document.getElementById('text4').style, 2, 1);
moveMe(document.getElementById('period5').style, 4, 4);
moveMe(document.getElementById('I6').style, 4, 1);
moveMe(document.getElementById('used7').style, 3, 3);
moveMe(document.getElementById('to8').style, 4, 2);
moveMe(document.getElementById('be9').style, 2, 3);
moveMe(document.getElementById('a10').style, 5, 5);
moveMe(document.getElementById('poem11').style, 1, 2);
moveMe(document.getElementById('but12').style, 3, 3);
moveMe(document.getElementById('drifted13').style, 1, 3);
moveMe(document.getElementById('from14').style, 4, 2);
moveMe(document.getElementById('the15').style, 5, 5);
moveMe(document.getElementById('scene16').style, 2, 3);
moveMe(document.getElementById('period17').style, 1, 4);
moveMe(document.getElementById('Do18').style, 2, 4);
moveMe(document.getElementById('me19').style, 3, 3);
moveMe(document.getElementById('period20').style, 2, 2);
moveMe(document.getElementById('I21').style, 4, 1);
moveMe(document.getElementById('just22').style, 2, 3);
moveMe(document.getElementById('want23').style, 3, 1);
moveMe(document.getElementById('you24').style, 3, 1);
moveMe(document.getElementById('to25').style, 3, 1);
moveMe(document.getElementById('do26').style, 3, 3);
moveMe(document.getElementById('me27').style, 4, 5);
moveMe(document.getElementById('period28').style, 2, 3);
Full transcript