Review of Digital Art and Meaning: Reading Kinetic Poetry, Text Machines, Mapping Art, and Interactive Installations, by Chris Funkhouser

Simanowski, while offering insightful practical observations on artworks, also builds larger historical frameworks; for instance, the chapter on Concrete Poetry dwells on its relationship to the baroque.

In various ways, Roberto Simanowski precisely uses his pro-critical stance to assemble a rejection of the common notions of “embrace” that occur as media and art are blended, establishing a polemic that privileges a “methodology” of close reading that resists its more imposing or absolutist implications.