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1. Language Writing, Digital Poetics, and Transitional Materialities

   Language Writing, Digital Poetics, and Transitional Materialities

   Eric Dean Rasmussen - 30.05.2011 - 21:18

2. From Revisi(tati)on to Retro-Intentionalization

   From the article: Since its inception in the late 1980s, digital literature has come a long way. It has seen groundbreaking technological changes and advances, which have taken it from a largely script-based, off-line medium to a prolific multimedia, interactive and ludic form of verbal and artistic expression, which is making use of a variety of online and offline forms of communication and representation. By the same token, genre boundaries are increasingly blurring between literature, art, digital film, photography, animation, and video game. That said, I contend that we can only use the term “digital literature” if and when the reception process is guided if not dominated by “literary” means, i.e. by written or orally narrated language rather than sequence

   Patricia Tomaszek - 15.06.2011 - 19:00

3. Verteiltes literarisches Handeln: Vorüberlegungen zu einer Theorie der Literatur in computerbasierten Medien

   Verteiltes literarisches Handeln: Vorüberlegungen zu einer Theorie der Literatur in computerbasierten Medien

   Jörgen Schäfer - 28.06.2011 - 14:22

4. Digital Literature—A Question of Style

   For some time, critics tried to circumscribe the “novelty” of digital literature in rather generalist terms, either taking into account its relation to literary avant-gardes or focalizing on its technical features; these theoretical approaches were often blind to contents. Now that digital literature seems more and more aesthetically convincing, the time has come to define its stylistic features with more precision. In order to circumscribe the poetics of interaction, some authors tested the validity of the classical figures of style. It is, however, probably dangerous to use classical rhetorical terms intended to characterize textual phenomena, whereas the signs of digital text almost constantly refer to different semiotic systems (including the visual one). In the following pages of this article, I will sometimes continue to borrow from conventional taxonomies to describe the stylistic devices of digital literature, and I will try in other cases to invent a new terminology in order to avoid foolhardy analogies.

   Alexandra Saemmer - 03.07.2011 - 16:37

5. Digital Literature—In Search of a Discipline ?

   Academic research on digital literature was initiated many years ago; researchers and teachers like Jean-Pierre Balpe and Jean Clément at University Paris 8 have provided major contributions to the understanding of electronic poetry, hyperfiction and text generation. They have also managed to integrate digital literature into university courses in Information and Communication Sciences. But most of the Departments of Literature have not supported these educational experiments. Whereas a certain number of specific literary methods undoubtedly prove suitable for the analysis of poetry and narrative texts in electronic media (semiotics, gender and cultural studies, biographical or even thematical approaches), literary studies in France are quite reluctant to deal with digital literature. The ambiguous status of digital works, between literature, visual and performing arts, does not facilitate their integration into one specific discipline either. Thanks to its many specificities—including hypermedia—digital literature involves many creative and interpretative abilities, from film analysis to programming, from rhetoric to sound engineering.

   Alexandra Saemmer - 03.07.2011 - 16:43

6. Playable Media and Textual Instruments

   The statement that "this is not a game" has been employed in many ways — for example, to distinguish between high and low culture electronic texts, to market an immersive game meant to break the "magic circle" that separates games from the rest of life, to demarcate play experiences (digital or otherwise) that fall outside formal game definitions, and to distinguish between computer games and other forms of digital entertainment. This essay does not seek to praise some uses of this maneuver and condemn others. Rather, it simply points out that we are attempting to discuss a number of things that we play (and create for play) but that are arguably not games. Calling our experiences "interactive" would perhaps be accurate, but overly broad. An alternative — "playable" — is proposed, considered less as a category than as a quality that manifests in different ways. "Playable media" may be an appropriate way to discuss both games and the "not games" mentioned earlier.

   Jörgen Schäfer - 05.07.2011 - 13:35

7. Beyond Play and Narration: Video Games as Simulations of Self Action

   Beyond Play and Narration: Video Games as Simulations of Self Action

   Eric Dean Rasmussen - 31.08.2011 - 15:40

8. On Reading 300 Works of Electronic Literature: Preliminary Reflections

   Note: Tabbi's essay was posted on July 22, 2009, on the online forum On the Human, hosted by the National Humanities Center where it generated 35 additional posts. It was reprinted, along edited versions of these responses, in Beyond the Screen: Transformations of Literary Structures, Interfaces and Genres (Transcript, 2010). These responses are archived separtedly in the ELMCIP Knowledge Base As "Responses to 'On Reading 300 Works of Electronic Literature: Preliminary Reflections.'"

   Eric Dean Rasmussen - 31.08.2011 - 15:55

9. Five Elements of Digital Literature

   Five Elements of Digital Literature

   Meri Alexandra Raita - 06.10.2011 - 10:22

10. Megan Sapnar's "Car Wash" as a New Media Sonnet

    Megan Sapnar's "Car Wash" as a New Media Sonnet

    Scott Rettberg - 30.10.2011 - 20:36

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