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1. Gutenberg Galaxy Revis(it)ed: A Brief History of Combinatory, Hypertextual and Collaborative Literature from the Baroque Period to the Present

   "Gutenberg Galaxy Revis(it)ed: A Brief History of Combinatory, Hypertextual and Collaborative Literature from the Baroque Period to the Present"

   Literature in computer-based media cannot be contemplated without a long literary tradition.
   This article aims at substantiating this assumption with numerous examples of combinatory,
   hypertextual and collaborative texts from German literary history since baroque
   times. Therewith it provides us with a historical basis in order to work out the common
   features and differences that with computers have entered literary texts.

   Source: author's abstract in book publication

   Jörgen Schäfer - 28.06.2011 - 14:58

2. Sprachzeichenprozesse: Überlegungen zur Codierung von Literatur in 'alten' und 'neuen' Medien

   Sprachzeichenprozesse: Überlegungen zur Codierung von Literatur in 'alten' und 'neuen' Medien

   Jörgen Schäfer - 28.06.2011 - 16:00

3. Six Problems in Search of a Solution: The Challenge of Cybertext Theory and Ludology to Literary Theory

   Six Problems in Search of a Solution: The Challenge of Cybertext Theory and Ludology to Literary Theory

   Jörgen Schäfer - 30.06.2011 - 16:07

4. Digital Literature—A Question of Style

   For some time, critics tried to circumscribe the “novelty” of digital literature in rather generalist terms, either taking into account its relation to literary avant-gardes or focalizing on its technical features; these theoretical approaches were often blind to contents. Now that digital literature seems more and more aesthetically convincing, the time has come to define its stylistic features with more precision. In order to circumscribe the poetics of interaction, some authors tested the validity of the classical figures of style. It is, however, probably dangerous to use classical rhetorical terms intended to characterize textual phenomena, whereas the signs of digital text almost constantly refer to different semiotic systems (including the visual one). In the following pages of this article, I will sometimes continue to borrow from conventional taxonomies to describe the stylistic devices of digital literature, and I will try in other cases to invent a new terminology in order to avoid foolhardy analogies.

   Alexandra Saemmer - 03.07.2011 - 16:37

5. Digital Literature—In Search of a Discipline ?

   Academic research on digital literature was initiated many years ago; researchers and teachers like Jean-Pierre Balpe and Jean Clément at University Paris 8 have provided major contributions to the understanding of electronic poetry, hyperfiction and text generation. They have also managed to integrate digital literature into university courses in Information and Communication Sciences. But most of the Departments of Literature have not supported these educational experiments. Whereas a certain number of specific literary methods undoubtedly prove suitable for the analysis of poetry and narrative texts in electronic media (semiotics, gender and cultural studies, biographical or even thematical approaches), literary studies in France are quite reluctant to deal with digital literature. The ambiguous status of digital works, between literature, visual and performing arts, does not facilitate their integration into one specific discipline either. Thanks to its many specificities—including hypermedia—digital literature involves many creative and interpretative abilities, from film analysis to programming, from rhetoric to sound engineering.

   Alexandra Saemmer - 03.07.2011 - 16:43

6. Playable Media and Textual Instruments

   The statement that "this is not a game" has been employed in many ways — for example, to distinguish between high and low culture electronic texts, to market an immersive game meant to break the "magic circle" that separates games from the rest of life, to demarcate play experiences (digital or otherwise) that fall outside formal game definitions, and to distinguish between computer games and other forms of digital entertainment. This essay does not seek to praise some uses of this maneuver and condemn others. Rather, it simply points out that we are attempting to discuss a number of things that we play (and create for play) but that are arguably not games. Calling our experiences "interactive" would perhaps be accurate, but overly broad. An alternative — "playable" — is proposed, considered less as a category than as a quality that manifests in different ways. "Playable media" may be an appropriate way to discuss both games and the "not games" mentioned earlier.

   Jörgen Schäfer - 05.07.2011 - 13:35

7. Kollaborative Schreibweisen - virtuelle Text- und Theorie-Arbeit: Schnittstellen für Interaktionen mit Texten im Netzwerk

   Kollaborative Schreibweisen - virtuelle Text- und Theorie-Arbeit: Schnittstellen für Interaktionen mit Texten im Netzwerk

   Jörgen Schäfer - 08.07.2011 - 10:34

8. "Wo ist der Ort des Textes?" - Rainald Goetz' "Abfall für alle"

   "Wo ist der Ort des Textes?" - Rainald Goetz' "Abfall für alle"

   Jörgen Schäfer - 08.07.2011 - 10:36

9. Archivability of Electronic Literature in Context

   Archivability of Electronic Literature in Context

   Jörgen Schäfer - 08.07.2011 - 10:50

10. Navigating the Borders—Edges and Interfaces

    Commentary on the panel "Navigating the Borders—Edges and Interfaces" at the 2002 Electronic Literature Symposium: State of the Arts, organized by the Electronic Literature Organization and hosted by the University of California at Los Angeles (UCLA). Stuart Moulthrop moderated the panel, which featured Lev Manovich, Raine Koskimaa, Kate Pullinger, and Diana Slattery. 

    Patricia Tomaszek - 25.08.2011 - 15:23

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