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Visualizing la(e)ng(-u-)age
Electronic literature not only engages “new media” elements (such as links, navigation, structure, animation, color, images, sound, computer programming) but also toys with the very foundation of literature—the language itself. After 20 years, we need to look back to remind people about these en(gag)(-tangl-)ements. As language is rapidly shifting with new te(xt )chnologies, we need to look ahead to see where electronic literature can engage with these emerging forms of language.
First, I will briefly present previous works to provide a history of electronic literature’s engagement with language. I will cover:
Character-augmented languages such as:
· Talan Memmott’s Lexia to Perplexia and Mez’ mezzangle (languages using regular fonts which add or subtract characters to words to create other words, usually employing parentheses)
· My work-in-progress Chronic (a handwritten language which adds or subtracts letters in a similar manner but employing upper characters to add letters and overbars to subtract letters)
Visual languages such as:
Scott Rettberg - 19.06.2014 - 20:31
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Punkto 0
The coordinates are deceptive! Doesn’t matter the position of the point, but the force that it produces, the space that it opens in the landscape of the real. This issue zero aims to contribute to a non-cartesian idea of point. Thinking its meaning from four anti-geometrical hypotheses. The point as a beginning (a space opening); the point as force and disturb (maybe creative); the point as network (points that aggregate other points), but most of all, the point as something that takes place, that supervenes in the unquiet landscape of the real, a singularity.
The contributions presented here, depart from those coordinates and destroy them:
// They reflect on the creative nature that the point represents/identifies in the architectonic/artistic production landscape: Álvaro Seiça Neves, Pedro Bismarck.
// They identify strategies of thought/construction that evolve the connective and communicative singularity of the point: Pedro Oliveria, André Sier,
// They understand the role of the critic as (re)production and (re)cognition of creative points: André Tavares, Bernardo Amaral.
Alvaro Seica - 26.09.2014 - 13:51
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Once Upon a Tide: An Introductory Essay
Not quite a short story, not quite a stage play, ‘Once upon a Tide’ is just one of those moments in literature when time … stands … still. When plot advances by simply refusing to budge. One of those waiting times, slack tides, great hollows within which heat intensifies, cold deepens, night thickens, fevers rage, or the sun continues its relentless blaze. Tension builds, and still nothing happens; neither the sight of a sail on the horizon nor the slightest breath of wind. It is within these long stillnesses that sailors’ yarns unravel. In Conrad’s Heart of Darkness (1899), the entirety of Marlow’s tale is recounted in one evening whilst sitting utterly still on the deck of a ship moored on the Thames. In the pitch dark and the heavy night air of the river, the narrator strains to discern meaning: ‘I listened, I listened on the watch for the sentence, for the word, that would give me the clue to the faint uneasiness inspired by this narrative that seemed to shape itself without human lips…’.
J. R. Carpenter - 24.06.2015 - 11:36
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Intermediality and Electronic Literature
The 2015 ELO Conference’s call for papers states that "[e]lectronic literature is situated as an intermedial field of practice, between literature, computation, visual and performance art. The conference will seek to develop a better understanding of electronic literature’s boundaries and relations with other academic disciplines and artistic practices."
This roundtable discussion, led by both established and emerging e-lit scholars and artists, will explore the idea of electronic literature as an intermedial practice, looking at the topic from a wide range of forms including literature, performance, sound, computation, visual art, and physical computing. Drawing upon artistic work they have produced or studied, each panelist will provide a five-minute statement that touches on qualities related to intermediality like hybridity, syncretism, and collaboration. Following this series of brief presentations, the panelists, then, encourage engagement in a wider conversation with the audience.
Hannah Ackermans - 31.10.2015 - 10:36
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Electronic Literature as a Means to Overcome the Supremacy of the Author Function
In his seminal essay “What Is an Author?” Michel Foucault maintains that we can only accept literary discourses if they carry an author’s name. Every text of poetry or fiction is obliged to state its author, and if, by accident or design, the text is presented anonymously, we can only accept this as a puzzle to be solved, or, one could add, as an exceptional experiment about authorship that is verifying the rule. This was in 1969. In the meantime, a profound change of all forms of social interaction has been taking place. Amongst them are works of electronic literature that use the computer in an aesthetic way to create combinatory, interactive, intermedial and performative art. One could argue, of course, that electronic literature as new media art often only is a proof of a concept addressed to the few tech-savvy select. However, these purportedly avant-garde pieces break the ground for developments that might happen barely noticed, and by this serve an important political, ideological, aesthetic and commercial purpose. Amongst these developments is a change of the seemingly irrevocable rule of the author in literary discourses.
Hannah Ackermans - 16.11.2015 - 10:07
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The Ends of Publishing
If the media was the message for McLuhan in the 1960s, then audio-visual publishing platforms like YouTube and Vimeo have become a message today. In his 1998 article entitled “Database as Symbolic Form,” Lev Manovich fails to foresee the socially hypermediated turn of the new century when he argues that “database and narrative are natural enemies. Competing for the same territory of human culture, each claims an exclusive right to make meaning out of the world” (p. 7). From a purely mathematical, logical viewpoint, they do at first seem at odds, since the database is the superstructure and the narrative media files are the objects oriented within. For example, a database might house narrative-less stock photos or sound effects as easily as it does an audio-visual story. The (early) media database seems indifferent to its contents and does not seem to be able to tell a story. Likewise, the narrative within a digital movie file is indifferent to its matrix-host, because the “story” operates regardless of whether you play the film on a DVD player, digital projector, or a YouTube download.
Hannah Ackermans - 28.11.2015 - 13:51
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Fill in the Blanks: Narrative, Digital Work and Intermediality
Bleeding Through: Layers of Los Angeles 1920 – 1986 is a digital work produced by the Labyrinth Project Research Center of the University of Southern California. Part paper, part DVD-ROM, part real, part fiction, it is based on an unsolved mystery, and unfolds the story of Molly, an Irish immigrant who moved to Los Angeles in 1920. She was at the heart of an investigation in the late 50’s early 60’s as she was the main suspect in the death of her second husband Walt. The project gathers hundreds of different data types like maps, pictures, texts, newspaper articles, books and movies, through which the user navigates in order to ultimately, resolve the crime. But how does the user build an interpretable narrative through this hypermedial database?
Hannah Ackermans - 28.11.2015 - 13:58
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Almanacco Letterario Bompiani 1962
A periodical about the theme of electronic calculators and computers applied to moral sciences and literature, subtitled "Le applicazioni dei calcolatori elettronici alle scienze morali e alla letteratura".
"Tape Mark I" appears published here for the first time (pp. 145-151).
The 324-page collection contains works by Nanni Balestrini, Giovanni Anceschi, Silvio Ceccato, Umberto Eco, Karl Gerstner, Bruno Munari, Dieter Rot, among other authors.
Alvaro Seica - 19.02.2016 - 17:52
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Convergent Devices, Dissonant Genres: Tracking the “Future” of Electronic Literature on the iPad
Anastasia Salter’s “Convergent Devices, Dissonant Genres” assesses the implications of the iPad for the state of literature. Looking at “traditional” approaches that re-mediate print for digital devices, “enhanced” approaches which add “special features” to extant texts and forms, pre-tablet eliterature re-experienced in the new environment, and finally the creation of original apps with literary qualities, Salter’s work is a critical document of the impact a single interface can have on the development of literary culture in the 21st Century. (Source: Author's Abstract)
Anders Gaard - 25.08.2016 - 15:38
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Understanding Cosmo-Literature: The Extensions of New Media
The central objective of this paper is to provide a new conceptual theoretical framework starting from the role of new new media in shaping a new kind of literature, which I call Cosmo-Literature. Towards this, I start working from Levinson’s differentiation among old media, new media, and new new media to arrive at the difference among the variable types of media. Next, I address the role of new new media in establishing world democracies and changing the social, cultural, and political world map. After that, I investigate the terms of “global village” and “cosmopolitanism” in relation to literature. To clarify what I mean by Cosmo Literature, I will investigate two new new media novels: Only One Millimeter Away, an Arabic Facebook novel by the Moroccan novelist Abdel-Wahid Stitu, and Hearts, Keys and Puppetry an English Twitter novel by Neil Gaiman, to infer the characteristics of Cosmo literature in general and Cosmo narration in particular.
Hannah Ackermans - 17.01.2017 - 15:35
