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The Transformation of Narrative and the Materiality of Hypertext
The Transformation of Narrative and the Materiality of Hypertext
Patricia Tomaszek - 11.10.2013 - 19:14
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What Does is Mean to Read Online
What Does is Mean to Read Online
Patricia Tomaszek - 11.10.2013 - 19:53
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Spars of Language Lost at Sea
Our poetry generator, Sea and Spar Between, was fashioned based on Emily Dickinson’s poems and Herman Melville’s Moby-Dick. Both in its original edition and in the edition expanded with comments—cut to fit the toolspun course—it exemplifies seven different ways to seek and grasp text: 1) by porting code; 2) by translating text strings and processes; 3) by contrasting the page/canvas experience via a link or URL with the experience of reading code via “View Source”; 4) by harpooning a particular stanza and using the browser’s capability for bookmarking; 5) by creating human-readable glosses of code for readers who may not identify as programmers; 6) by relating its depthless virtual space to the import of Mallarmé’s Coup de dés as interpreted by Quentin Meillassoux; 7) by foregrounding non-translatability as a characterizing sieve for natural languages.
Arngeir Enåsen - 14.10.2013 - 15:35
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The Functional Point of View: New Artistic Forms for Programmed Literary Works
This essay analyzes the functioning of a text that was designed to be read in a private context, that uses the computer as an active tool during the reading, and that can be published on a permanent medium such as CD-ROM. The work is approached in its dual functioning mode: synchronic and diachronic. A functional model is proposed, which involves an analysis of the functions that operate in the communication process between the reader and the author. In this model, the work appears as a process and no longer as an object. The reading and the materialization of the object read become interdependent. The author analyzes the relationships between readability and faithfulness in the resulting work, properties that may be incompatible in the final text.
Source: Author's Abstract
Patricia Tomaszek - 21.10.2013 - 18:14
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Barroquismos Digitais
Existe um barroquismo nas criações poética digitais contemporâneas. Seria este um barroquismo de arte e engenho no modo de as obras operarem e no modo de se relacionar com o mundo digital daquele que cria e daquele que o usufrui. Barroquismo na maneira de se dar ao mundo da obra digital, na similaridade com o modo de ser das obras barrocas, considerando três características: materialidade da obra enquanto doadora de sentido, multimidialidade da obra e a interatividade entre obra e fruidor. Este artigo se propõe a apontar para esse barroquismo e certo continuum barroco na literatura digital.
(Fonte: Resumo do Autor)
Alvaro Seica - 29.11.2013 - 13:38
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Text/ures: L’Objet-livre du Papier au Numérique
This international and transdisciplinary project aims at exploring hybrid objects: pop-up books, artists books, sculpture-books or animated books and new digital books, in the shape of e-books and applications that, because they belong to both litterature and graphic culture, actually avoid preexisting categories.
The idea is to work with the material to explore textual architextures as well as tactile possibilities, even kinetic ones. Book-bjects will be considered in their historical dimension — by retracing existing filiations between mechanical books and digital books — but also analyzed from the angle of materiality. We will try to understand the way these books, digital or not, stretch the limits or paper and operate on new types of surfaces to create innovative, playful, tactile and esthetic devices.
J. R. Carpenter - 22.11.2014 - 10:49
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Beyond the Googlization of Literature: Writing Other Networks
It's true, poets have been experimenting with producing writing (or simply writing, just writing of a sort not familiar to us - writing as input and writing as choosing) with the aid of digital computer algorithms since Max Bense and Theo Lutz first experimented with computer-generated writing in 1959. What is new and particular to the 21st century literary landscape is a revived interest in the underlying workings of algorithms, not just a concern with the surface-level effects and results that characterized much of the fascination in the 1970s and 1980s with computer-generated writing. With the ever-increasing power of algorithms, especially search engine algorithms that attempt not just to "know" us but to in fact anticipate and so shape our every desire, our passive acceptance of these algorithms necessarily means we cannot have any sense of the shape and scope of how they determine our access to information, let alone shape our sense of self which is increasingly driven by autocomplete, autocorrect, automata.
Daniela Ørvik - 17.02.2015 - 15:47
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Materiality
Materiality
Daniela Ørvik - 29.04.2015 - 16:58
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Digital Fictions: Storytelling in a Material World
When researchers in computer-mediated communications discuss digital textuality, they rarely venture beyond the now commonplace notion that computer textuality embodies contemporary post-structuralist theories. Written for students and faculty of contemporary literature and composition theories, this book is the first to move from general to specific considerations. Advancing from general considerations of how computers are changing literacy, "Digital Fictions" moves on to a specific consideration of how computers are altering one particular set of literature practices: reading and writing fiction.
Patricia Tomaszek - 24.09.2015 - 11:25
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Narrative, Affect and Materialist Aesthetics in Post-Digital Technotexts
After much excitement about hypertext fiction in the 1990s, many digital-literary-arts practitioners moved away from narrative. There seemed to be a recognition that the hyper-reading digital environments promote was not conducive to long-form narratives. Lev Manovich’s influential The Language of New Media (2002) declared that databases dominated over narrative; narrative was now a residual, if not yet obsolete, epistemological form. But born-digital authors have not entirely abandoned narrative; rather, the narrativity inherent to their artifacts has been diffused, redistributed across non-linguistic modalities. New production technologies make it easier to integrate images, animations, music, sounds, and other modalities into cybertextual artifacts often more akin to video games than novels. In multimodal environments, where textual output is more variable, narrative qualities can appear elusive or ephemeral. Nonetheless, narrativity, like other indicators of literariness, persists in new media writing.
Hannah Ackermans - 11.11.2015 - 16:26
