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From Mechanism to Subjectivity: The Posthumanist Performativity of Electronic Literature
In my earlier research, I have drafted a theory of literary communication using programmable and networked media based on Actor-Network Theory (e.g., “Reassembling the Literary: Toward a Theoretical Framework for Literary Communication in Computer-Based Media”, in Beyond the Screen: Transformations of Literary Structures, Interfaces and Genres, eds. Jörgen Schäfer and Peter Gendolla, pp. 25-70). In this optic, the conceptions of “actor-networks”, or more precisely, the conceptions of distributed agencies and of chains of translations between human and non-human actors provide us with a framework that helps to relate human dispositions and corporeal activities, variable activity roles of human actors in the literary system (as “author”, “editor”, “reader”, etc.), changing media technologies and various literary procedures. The semantic field of “nets” and “networks” acquires a special significance because it stresses the uncertainty about sources of action.
Hannah Ackermans - 14.11.2015 - 15:55
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It Is the End of the World as We Know It and I Feel Fine
My paper tries to make three simple points, each one of which is connected to a specific end of electronic literature: theoretical, practical, and historical. The point of departure is of course electronic literature as we know it and perhaps like it to be: seriously undertheorized, critically experimental, ignored by media and literary departments, and practiced in relatively small and isolated communities that are firmly situated outside the usual constraints of literary market economy. This is about to change given the multitude of devices and gadgets suitable for consuming electronic literature controlled (i.e. produced, published, distributed and owned) by big media corporations. In short, we’ll soon have something new and unprecedented: popular electronic literature and probably all that usually (or historically) comes with it: both healthy and counterproductive tensions between e-literatures high and low, experimental and generic, innovative and mainstream etc. Therefore, we might need several alternative ends.
Hannah Ackermans - 28.11.2015 - 14:39
