User:Alessia/AI Poetry authorship zine
theme and title
Authorship is the main concept I would like to focus for my project
other concepts:
- financial system
- capitalism
- copyright law
- power
- ownership
- stealing
- language - tech trend - flattening
- computational infrastructure
- collaborativity
- cloud model as business model
- author - poet as author
- AI as author
- data model/algorithm as author
About the title I would go with re://authorship, re:authorship, or in conversation about poetry and AI.
My hypothesis
Authorship is an important financial system for people working in the creative field. Right now this system is crumbling, a process that is speeded up by AI. It is clear that something massive is happening. An artist, as an individual is losing their power to survive this transitionary period, it will be painful.
Authorship is also an important framework in the creative industry for creating the figure of the individual (genius) artist.
Throughout history the figure of the artist has never being a monolith. Copyright is a modern product of our societal system.
main points: - authorship that helps the industry to create the figure of the artist
- authorship is a financial system
Why this project?
Some artists may find copyright infringements acceptable, because they feel that change is coming in a way or another. Artists often rely on copyright as their primary protection, even when the system frequently fails them anyway. The art and creative industries are increasingly being defunded and privatised, leaving artists struggling. In the future, will copyright still matter if the concept of ownership itself shifts, because of a societal desire to escape hyper individualism and by a growing awareness of how corporation exploits our data?
Questions to ask
how did authorship shape your practice?
Who is the author of your work?
is the algorithm an author?
do you own your work?
do you have authorship of the text generated for you? (for artists that engage with ai in a creative collaborative - way)
did you ever sell your authorship?
how do you quote someone else's work?
did you ever steal from someone else?
how does authorship generates income for your?
what is your experience with publishers and arranging agreements around intellectual property?
what would you like to change in the publishing system of selling your work?
how does authorship make you and individual poet? What does that mean to you?
how do you understand collective authorship?
if we understand ai as a form of collective authorship (based on extractive cloud business models) what does that mean to the poems it generates?
did you ever publish something collectively?
where would poets be in the future?
where would you like to be?
how could poets escape to be an individual creator?
how could poets reposition themselves in society?
would you like to reposition yourself in society?
are you doing it already?
People to ask them
✔︎ Dan Power. A poet, and founding editor of Trickhouse Press and the AI Literary Review. PhD student of creative writing
✔︎⏳ Alex Mazey. A researcher and writer. He won the Judge’s Prize in the Magma Poetry Competition in 2025, a Creative Future Writers’ Award in 2019, and the Roy Fisher Prize from Keele University in 2018. Sociology and postmodern theory are his tea. He is the author of Sad Boy Aesthetics (2021) and Living in Disneyland (2020). His debut poetry collection, Ghost Lives: Cursed Edition, was published in 2024.
✔︎⏳ Gabriela Milkova Robins. Macedonian poet based in Scotland, PhD researcher. She enjoys using a variety of artistic media, visual art and music, to write her poetry.
✔︎⏳ Femke Snelting. Artist and designer. She might not need an introduction here! She develops projects at the intersection of publishing, trans*feminism, and Free Software. As cc4r and cc2r captured my attention I am looking forward to find out more about the projects.
✉ Lucy Hulton. PhD creative writing student at Salford. She won the Leanne Bridgewater Award (2021) and she was shoerlisted for the Streetcake Experimental Poetry Awards (2020).
✉ Maria Slendmere (she/they). Is an academic, artist, educator and editor. The author of over twenty books, they have a Doctorate of Fine Arts in Creative Writing from the University of Glasgow (2022), following an MA in English Literature (2015) and MLitt in Modernities (2017). Maria researches poetry, theory, fiction and hybrid writing, and practices hypercritique.
✔︎⏳ Isabella Leardini poet and creative writing teacher
Daniëlle, Fleur, Diana
Other supporting material I might want to add
experience at the Poetics of Computing at Varia
small interviews I will make at Poetry International festival
Interactions I had with Manetta, Cristina and Marloes
Questions to ask myself for the publication/zine
- from A series of prompts for book makers, readers and all those in-between -
- Who knows about this book?
Friends, family, classmates - Who needs to see this book?
the same people + whoever interested - Who would benefits/enjoy from seeing this book?
people curious about poetry, AI authorship and everything in between - What does this book seek to do in the world?
As a little piece of insight on what people, that are involved with poetry/literature, publishing and authorship on a bigger scale, think about how AI is disrupting ownership. To show what is their stances as people involved in the industry already, to preannounce how the future might look like.
- Does the book act as a beginning, way-marker or end point?
It is a beginning. The issue of the zine will be the #0. As I would like to continue my research, this zine will serve as a starting point for a bigger research about authorship, its historical evolution, how it could change in the future. - How is the book activated to support reader engagement?
- What contextual information and resources are presented with (or in) the book?
- How can the work be seen without purchase?
- What knowledge does the book rely on?
- How are reader accommodated?
- Is space for reader response important?
- What form does the book take?
- What paper, binding and production flourishes are used?
bonus:
- How does the form of the book support its purpose?
- How does the cost of production impact the cost of purchae and resulting readership?
- How do production choices reflects resource sustainabiltiy and environmental impact?
- How is the book amplified in order to reach its readers?
- How does the book fit into a larger plan of publishing?
experiments
Marginalia diary entry = [website on chopchop]
made with: Marginalia github
Marginalia website
Marginalia is an open, collaborative article annotation and publishing platform that enables contributions from collectives and individuals.
Annotations have historically served as a method of assistance for reading dense and difficult texts and have existed in the margins of the “original” or “main” text. While the concept of marginalia includes not just annotations, but drawings, critiques, illuminations, scribbles and the like. We think of margins as a space of not often recognized knowledge creation, that is just as important, if not more so than the main body of text. This platform foregrounds non-linear, messy, entangled knowledge creation. It is for those seeking online space for communal learning, wild experiments in reading and writing, and intervening into the text to make room for themselves in it.
https://codepen.io/Alessia-Vadacca/details/GgJZKxG
https://ethicsfordesign.com/menu
https://timroussilhe.com/
https://2018.aninterestingday.com/
https://mariasledmere.com/home-banner
https://aecollective.earth/
other links
first pad: https://pad.xpub.nl/p/AI_poetry_interview