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  1. p0es1s

    The symposiums to the poetics of digital texts orient themselves provisionally on the following question: They would like to explore and discuss the specific performances and functions of a literature, which is conceptualized or conceived particularly for digital media. As a literature form, those in the field of electronics between innovation (the changed conditions of digital and intertwined writing as well as multimediality) and tradition (resorting to the tradition of the literary avant-gardes) operate, ask themselves even for scientific work the question about the classification and handling of this literature in a media-theory and literature-theory perspective.

    Patricia Tomaszek - 14.09.2010 - 12:06

  2. The Reader as Author as Figure as Text

    The paper takes a short look at the much discussed dismissal of the author in hypertext collaborative writing and discusses the role of authorship in three German collaborative writing projects. The results are: 1. Collaboration sometimes works like collaboration with the 'enemy.' The pleasure of some collaborative writing projects therefore comes not so much from the story itself as from what the text reveals about its authors. 2. The attraction of some collaborative writing project lies in the setting more than in the contributed texts. What fails as Netliterature may get a second chance as Netart. 3. If the program of a collaborative writing project automatically and randomly creates the links and develops the structure of the whole, it takes over the collaboration between authors and their texts. The conclusion is: As the text itself becomes more and more part of a technical setting, and as the program moves more and more into the center, the project of collaborative writing increasingly dismisses the reader. To a user who accidentally stops by and starts to read, the text itself doesn't say all that much.

    Patricia Tomaszek - 14.09.2010 - 12:19

  3. Cybertext Yearbook

    Founded as an academic print publication by Markku Eskelinen and Raine Koskimaa in 2000, the Cybertext Yearbook has been freely available online in PDF since 2007. Since 2003 the volumes have been mainly theme based. Despite the name the volumes do not necessarily appear annually. (Note: Individual volumes of Cybertext Yearbook are listed as book collections in the ELMCIP Knowledge Base).

    The Cybertext Yearbook -julkaisusarja käynnistyi vuonna 2000. Vuodesta 2003 lähtien yksittäiset numerot ovat keskittyneet tiettyyn teemaan. Päätoimittajina toimivat Markku Eskelinen ja Raine Koskimaa. Teemanumeroilla on usein myös vieraileva toimittaja. Nimestään huolimatta julkaisuja ei välttämättä ilmesty vuosittain.


    Patricia Tomaszek - 14.09.2010 - 17:39

  4. Andrzej Pajak

    Andrzej Paj?k (1974), journalist and editor connected with publishing companies of the computer press since 1996. In years 2004-2006 he was the editor-in-chief of monthly magazine Enter. At present he is working in the computer magazine CHIP. He contributes to the portal devoted to connections of literature and digital media. His main research interests are the digital humanities, e-literature, exploiting the possibilities of the hypertext for studying literature, and hypertext as new cartography of the knowledge.

    Patricia Tomaszek - 14.09.2010 - 17:44


    A collection of critical writing and works in German.
    Edited by Johannes Auer, Christiane Heibach, and Beat Suter

    Patricia Tomaszek - 17.09.2010 - 16:50

  6. Peter Gendolla

    Born 1950, studied Art History, Philosophy and Literary Studies in Hannover and Marburg, he gained his Ph.D. in 1979 and habilitated in 1987. Since 1996 he is Professor of Literature, Art, New Media and Technologies at the University of Siegen. He was Speaker of the "Forschungskolleg Medienumbrüche" from 2005-2010. Among other research interests, he investigates in electronic literature.

    Patricia Tomaszek - 17.09.2010 - 17:03

  7. An ethnography of a networked community as emergent creativity

    This paper presents the methodological toolkit that will be used at the ELMCIP project to investigate creativity as expressed and experienced by online creative communities. Whilst creativity is often perceived as the product of the individual artist, or creative ensemble, it can also be considered as an emergent phenomenon of communities driving change and facilitating individual or ensemble creativity. The ELMCIP project will gather valuable information on the interpretation and the performativity of ‘creativity’ by electronic literature practitioners – both professional and amateur – within a transnational and multicultural context. To acquire an understanding of how such a community interacts, communicates and exchanges knowledge, within a transnational context, the research will adopt online ethnographic methods, involving multiple sites of observation, which are intended to cut across the dichotomies of the ‘local’ and the ‘global’.

    Jill Walker Rettberg - 18.09.2010 - 22:09

  8. Gyldendal norsk forlag

    Gyldendal norsk forlag

    Thomas Brevik - 21.09.2010 - 10:53

  9. Leslie Rule

    Center for Locative Media, Digital Storytelling Initiative, KQED San Francisco

    Anders Løvlie - 21.09.2010 - 11:00

  10. Authorship and agency in networked environments

    This text discusses how our understanding of authorship has evolved over the past few decades and how this process is now being effected by developments in network and communications technologies. Situating the discussion in relation to post-structuralist theory, Actor Network Theory and the anthropological work of James Leach the impact of network technologies are considered, with particular attention to the emergence of distributed forms of authorship and models of expanded agency. The work of two artists who engage network and communications technologies in distinct ways is discussed in order to evoke perspectives on emergent forms of authorship and agency. The work of Mez Breeze is considered as evidencing a shift in authorship from the human author to an agency of computability embedded in the formal structures of the language employed in the work, suggesting that the text operates as an automatic generative system that constructs the reader as computational interpreter.

    Simon Biggs - 21.09.2010 - 11:04