A bibliography of Literary Theory, Criticism and Philology

Note 44 Loss Pequeño Glazier, White-Faced Bromeliads on 20 Hectares, ELC 1 http://epc.buffalo.edu/authors/glazier/java/costa1/00.html.

Note 45 Generative art is, of course, a major category of digital arts generally. For example, Bill Seaman's ambitious installation work, The World Generator (1996), used images, sound, and spoken text to create a recombinant poetics that created emergent and synergistic combinations of all these modalities http://digitalmedia.risd.edu/billseaman/poeticTexts.php.

Note 46 Philippe Bootz, "The Functional Point of View: New Artistic Forms for Programmed Literary Works," Leonardo 32.4 (1999): 307-16. See also the earlier article "Poetic Machinations," Visible Language 30.2 (1996): 118-37, and the later "Reader/Readers," p0es1s: Ästhetik Digitaler Poesie/The Aesthetics of Digital Poetry, edited by Friedrich W. Block, Christiane Heiback, and Karin Wenz (Berlin: Hatje Cantz Books, 2004), pp. 93-122, which gives a further elaboration and refinement of the functional model. In "Digital Poetry: From Cybertext to Programmed Forms," Leonardo Electronic Almanac 14.05/06 (2006) http://leoalmanac.org/journal/lea_v14_n05-06/pbootz.asp, he slightly shifts terminology to technotexts and intermedia, with a focus on a procedural model of communication.

Note 47 Philippe Bootz discusses the web-based literary journal created by L.A.I.R.E in "Alire: A Relentless Literary Investigation," Electronic Book Review (March 15, 1999) http://www.electronicbookreview.com/thread/wuc/Parisian.