Chris Funkhouser wrote this, or something like this, in Prehistoric Digital Poetry: An Archaeology of Forms, 1959-1995 (University of Alabama Press, 2007):
Digital poems, while built on similar principles, are always being technically, culturally, and imaginatively redefined. Various forms of poems—related by technological agency—both represent (i.e., simulate) classical literature (in programs that implement classical forms, or by assembling CD-ROM anthologies of classical poetry) and, more profoundly, embrace new methods of communicating verbal information.
David Jhave Johnston makes what I think is a related point in Aesthetic Animism:
Digital poetry implies composites… Language conflates with code. Text combines with image. Media-specific analysis (materiality) mixes with a close reading (ontological approaches). Beauty (aesthetics) mingles with an apprehension of life (animism). In each case, symbiotic relations between digital affordances and poetry necessitate these structural, critical composites.” (“Critiques” 9)