Zuzana Husárová

My poems in Displej.eu

My poems a, (v z letu)from liminal, plocha, kocka, zdieľanýfrom lucent and Processing Multiple Particle Systemsthat was published in Korean journal Concrete Experience. Vol. 1, 2011, are included in the anthology of contemporary Czech, German and Slovak poetry DISPLEJ.EU, edited by Ondřej Buddeus and Peter Dietze.

The antology Displej.eu contains texts by 14 authors plus 4 critical essays on poetry in the respective country: Tom Bresemann, Michael Gratz (DE), Karel Piorecký (ČR) and Jaroslav Šrank (SR).

My poem Processing Multiple Particle Systems – is a recontextualisation and a partial rewriting of a code for Processing code on execution Multiple Particle Systems by Daniel Shiffman. {*when pornography and code meet – this poem is a conceptual work on revealing the poetics of code/in code/through code}

By creating just a single point of view “poetic narrative”, this “pseudo code” or “code poem” evokes the idea of “dealing with only one aspect of code”, when “surface depictions of coding elements are but partial representations, presenting a fraction of code’s signifying force” (Mark Marino, Critical Code Studies). The code is presented on the surface (here even on the print one), just the aesthetic/poetic layer is functioning, which is deprived of its executive potential that would make the code work. The original code is thus turned into a non-executable poem, whose poetics lies in the display level. Rita Raley writes that code poem can serve to disrupt our reading (and processing) practices, by means of defamiliarization and defines such practices as radical political praxis in codework (in Interferences: [Net.Writing] and the Practice of Codework). Code as “a special type of language” is, according to Rita Raley and John Cayley worthy of the attention of literary scholars. The links are drawn between porno-graphy and its encodings and coded nature, between the language of code and its slight rewritings into poetry – based usually on sonic similarities, as well as between human/posthuman/machine entities whose act-ions stay, from the audience perspective, in the brackets.

You can read the poem here: