by Kelvin Smith
Avant-garde now must mean digital, often transient or temporary, time or non-time and site or non-site specific, leaving little opportunity for experiments to do the double task of processing both words and ideas. Clicking and swiping canonical poetry, hyperlinkages offer seemingly unlimited interpretation, soon sterilize every dissection tool in the readers’ laboratory.
Waiting for each new tech-encumbered text, the scholars adjust poetry and language, wire-frame ideas and options, how clever and, in our meaning, how unpublished. Everything mediated, moderated, mediatized, determines a new view of time and space, full of automation and all the spectrum of modernist presentation. Total editing kills texts.