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1. Au seuil du livre : les œuvres hypermédiatiques d’Andy Campbell (The Rut, Surface, Paperwound)

   Avec l’avènement de la cyberculture, on aurait pu croire, sinon à la disparition du livre, du moins à son usure en tant que modèle. Mais, dans les faits, nous assistons plutôt sur le Web à une prolifération des figures du livre. À cet égard, les œuvres hypermédiatiques d’Andy Campbell sont révélatrices. Sur son site, intitulé Dreaming Methods, il élabore une véritable poétique de la figure du livre et du papier en hypermédia. Toutefois, on le démontrera, chez Campbell, le livre fait moins l’objet d’un hommage qu’il est une figure à déconstruire par l’hypermédia (Cf. Paperwounds, et Surface). Nous nous attacherons à l’analyse précise de The Rut, présenté comme : « A self published book that never get back the front cover ». L’œuvre est composée des quinze versions du péritexte du livre simulé de Max Penn. The Rut, apparaît dans un premier temps comme un livre sans contenu, où la narration est déportée dans la fictionnalisation d’un péritexte, dont le sérieux et le formalisme se délite à chacune de ses occurrences.

   Jill Walker Rettberg - 23.08.2013 - 13:31

2. Out of Bounds: Searching Deviated Literature in Audiovisual Electronic Environments

   In this presentation I propose a close/distant reading of some Argentinean e-poetry works –Migraciones and Outsource me! by Leonardo Solaas and TextField, Eliotians and some of the works of The Disasters by Iván Marino– in order to pose a debate concerning the development of e-poetry in audiovisual electronic environments, particularly e-poetry created by artists/programmers who hardly would defined themselves as poets or writers.To what extent one should still speak about literature concerning this kind of works? Is it possible to find a literary impulse in contexts where literature has lost its privileges and migrates “out of bounds”? If the artists mentioned above lean themselves into literary traditions, why are their works more frequently regarded by visual art critics rather than literary critics? I argue that the works analyzed enable us to resituate literature in inter/trans media contexts, which nevertheless are readable in terms of literary effects.

   Scott Rettberg - 04.10.2013 - 11:54

3. Failure, A Writer's Life

   Failure, A Writer’s Life is a catalogue of literary monstrosities. Its loosely organized vignettes and convolutes provide the intrepid reader with a philosophy for the unreadable, a consolation for the ignored, and a map for new literary worlds. "The unfinished, unreadable, unpublishable — the scribbled and illegible, the too slowly published, the countless unpublished, all that does not seem to count at all. . . . here lie all manner of ruins. From Marguerite Duras to Google Maps, Henri Bergson to H.P. Lovecraft, Orson Welles to Walter Benjamin to a host of literary ambulance drivers (not to mention the FBI, UFOs, and UbuWeb), _Failure, A Writer's Life_ charts empty spaces and occupied libraries, searches databases bereft of filters, files spam and porn and weather reports into their respective _konvoluts_, and realizes the full potential of cultural inscription. In a series of snapshots concatenated in the best surrealist mode, Milutis has curated a catalogue of curiosities as essential to understanding our current cultural condition as they are eccentric.

   Joe Milutis - 06.11.2014 - 10:23

4. Cybertext Poetry: Effects of Digital Media on the Creation of Poetic Literature

   Digital technologies have begun to affect the activity of creating poetry. This development does not threaten to supplant poetry in its written, oral, and other senses. Rather, it holds the potential to accentuate and extend its capabilities. My study discusses historical and mechanical issues related to literature and digital media, exposing how approaches to the creation of poetic texts are evolving as writing (in part) becomes machine-modulated. Aiming to chronicle the opening period of cybertext, these essays intend to expand the discourse and illustrate aesthetic properties of digital text. Theodor Holm Nelson invented the concept of hypertext in the 1960s. Hypertext, to Nelson, meant branching texts and "non-sequential writing." It is a specialized mode of multi-layered reading and writing enabling the integration of digital texts. My study advances hypertext by adopting the term cybertext to include other digital forms and possibilities. It continues the work of developing a vocabulary bridging poetry and cybertext, discussing contemporary theory and practice in this discipline.

   Alvaro Seica - 06.05.2015 - 14:32

5. Aesthetic Animism: Digital Poetry's Ontological Implications

   This book offers a decoder for some of the new forms of poetry enabled by digital technology. Examining many of the strange technological vectors converging on language, it proposes a poetics appropriate to the digital era while connecting digital poetry to traditional poetry’s concerns with being (a.k.a. ontological implications). Digital poetry, in this context, is not simply a descendent of the book. Digital poems are not necessarily “poems” or written by “poets”; they are found in ads, conceptual art, interactive displays, performative projects, games, or apps. Poetic tools include algorithms, browsers, social media, and data. Code blossoms into poetic objects and poetic proto-organisms. Introducing the terms TAVs (Textual-Audio-Visuals) and TAVITS (Textual-Audio-Visual-Interactive), Aesthetic Animism theorizes a relation between scientific method and literary analysis; considers the temporal implications of animation software; and links software studies to creative writing. Above all it introduces many examples of digital poetry within a playful yet considered flexible taxonomy.

   Alvaro Seica - 22.09.2016 - 15:10

6. Combination and Copulation: Making Lots of Little Poems

   Combination and Copulation: Making Lots of Little Poems

   Scott Rettberg - 27.04.2018 - 14:20

7. Probing the gaps between datasets and interfaces in electronic literature

   The contrast between the conceptual and material realities of data harvesting and of digital interfaces is a captivating subject matter I will tap into to make visible the physicality of the internet and to subvert destructive dominant, colonial narratives with respect to the natural environment and climate. 

   This intervention will use poetry and photography/video as electronic literature to shed light on the conceptual language used online (e.g., on social media, corporate websites, online magazines, etc.) to discuss datasets in relationship to digital interfaces. Furthermore, it will address an identifiable gap within this language, which can be viewed in the production of massive amounts of electronic waste. 

   Amirah Mahomed - 19.09.2018 - 14:53

8. Reading Project: A Collaborative Analysis of William Poundstone’s Project for Tachistoscope

   Electronic literature is a rapidly growing area of creative production and scholarly interest. It is inherently multimedial and multimodal, and thus demands multiple critical methods of interpretation. Reading Project: A Collaborative Analysis of William Poundstone’s Project for Tachistoscope {Bottomless Pit} is a collaboration between three scholars combining different interpretive methods of digital literature and poetics in order to think through how critical reading is changing—and, indeed, must change—to keep up with the emergence of digital poetics and practices. It weaves together radically different methodological approaches—close reading of onscreen textual and visual aesthetics, Critical Code Studies, and cultural analytics (big data)—into a collaborative interpretation of a single work of digital literature.

   Ana Castello - 02.10.2018 - 19:40

9. Podcast: Nick Montfort, “Poet/Programmers, Artist/Programmers, and Scholar/Programmers: What and Who Are They?”

   Computer programming is a general-purpose way of using computation. It can be instrumental (oriented toward a predefined end, as with the development of well-specified apps and Web services) or exploratory (used for artistic work and intellectual inquiry). Professor Nick Monfort’s emphasis in this talk, as in his own work, is on exploratory programming, that type of programming which can be used as part of a creative or scholarly methodology. He says a bit about his own work but uses much of the discussion to survey how many other poet/programmers, artist/programmers, and scholar/programmers are creating radical new work and uncovering new insights.

   09:08 p5.js
   12:38 The Deletionist
   14:26 Permutated Poems of Poems of Brion Gysin
   18:18 Curveship
   21:00 A Noise Such As a Man Might Make
   24:03 Oral Poetics
   29:35 Q&A

   Scott Rettberg - 01.10.2019 - 14:31

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