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1. 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 Techsty.art.pl 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

2. netzliteratur.net

   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

3. 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

4. Gyldendal norsk forlag

   Gyldendal norsk forlag

   Thomas Brevik - 21.09.2010 - 10:53

5. Leslie Rule

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

   Anders Løvlie - 21.09.2010 - 11:00

6. 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

7. Sonja Thomsen

   Thomsen is a Coopenhagen based multimedia artist. She got her degree as a designer at Kolding School of Design. She has created several multimedia poetic works.
   She also works as a project leader in the DR (Danish radio)

   Hans K Rustad - 21.09.2010 - 11:05

8. Lucie de Boutiny

   Hypertext French author, well-known for her work "NON-roman".

   Serge Bouchardon - 21.09.2010 - 11:06

9. Transculturation, transliteracy and generative poetics

   author-submitted abstract:
   What effect are the current profound changes in global communications, transport and demographics having on language and its readers and writers, those defined through their engagement with and as a function of language? What happens to our identity, as linguistic beings, when the means of communication and associated demographics shift profoundly? What is driving this? Is it the technology, the migration of people or a mixture of these factors?

   Language is motile, polymorphic and hybrid. Illuminated manuscripts, graphic novels, the televisual and the web are similar phenomena. The idea that the ‘pure’ word is the ultimate source of knowledge/power (a hermeneutic) was never the case. Don Ihde’s ‘expanded hermeneutics’ (1999), proposes, through an expanded significatory system, that what appear to be novel representations of phenomena and knowledge are, whilst not new, now apparent to us.

   Fernando Ortiz (1947) proposed the concept of ‘transculturation’, which may offer possible insights in relation to these questions.

   Simon Biggs - 21.09.2010 - 11:07

10. Art, Creativity, Intellectual Property and the Commons

    Let us begin with a story about art. In this story, art produces aesthetic works of durability and stability — things that “stand up on their own”. The act of artistic production doesn’t come from nowhere; neither is it born in the heads of private individuals. It doesn’t dwell in a social nothingness. Nor does it start with a blank canvas. Any moment of production involves the reassembling and rearranging of the diverse materials, practices and influences that came before it and which surround it. Out of this common pool, art creates aesthetic works with emergent properties of their own. From the social world in which it lives, art creates affect and precept. It forms new ways of feeling, seeing and perceiving the world. It gives back to us the same object in different ways. In so doing, art invents new possibilities and makes available new forms of subjectivity and life. Art is creative and productive.

    David M. Berry - 21.09.2010 - 11:11

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