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  1. Electronic Literature as World Literature; or, The Universality of Writing under Constraint

    Electronic literature is not just a “thing” or a “medium” or even a body of “works” in various “genres.” It is not poetry, fiction, hypertext, gaming, codework, or some new admixture of all these practices. E-literature is, arguably, an emerging cultural form, as much a collective creation of terms, keywords, genres, structures, and institutions as it is the production of new literary objects. The ideas of cybervisionaries Paul Otlet, Vannevar Bush, and Ted Nelson, foundational to the electronic storage, recovery, and processing of texts, go beyond practical insights and can be seen to participate in a long-standing ambition to construct a world literature in the sense put forward by David Damrosch (2003: 5): “not an infinite ungraspable canon of works but rather a mode of circulation and of reading...

    Eric Dean Rasmussen - 06.01.2011 - 12:57

  2. Editorial Process and the Idea of Genre in Electronic Literature in the Electronic Literature Collection, Volume 1

    The article focuses on two subjects: the process of editing the Electronic Literature Collection, Volume 1 (2006), and the idea of genre in electronic literature. The author was one of four editors of the first volume of the Collection, along with N. Katherine Hayles, Nick Montfort, and Stephanie Strickland. The Collection, which will be published on a regular basis, is intended to distribute contemporary electronic literature to a wider audience, and to provide a contextual and bibliographic apparatus to make electronic literature more accessible to audiences and educators. In the past decades, the forms of literary artifacts described as electronic literature have diversified to the extent that it is difficult to continue describe them using traditional terms of literary genre. The essay addresses some of the problems involved in classifying digital artifacts by genre, and suggests some avenues of addressing these epistemological challenges. The essay calls for a contextual understanding of works of electronic literature, based both on their nature as procedural artifacts and on their position within a historical continuum of avant-garde practices.

    Scott Rettberg - 13.01.2011 - 15:49

  3. The End of Books

    Coover's "The End of Books" essay in the New York Times significantly introduced hypertext fiction to a wider literary audience. The essay describes that ways that hypertext poses challenges for writers and readers accustomed to coventional narrative forms, including assumptions about linearity, closure, and the division of agency between the writer and reader.

    Jill Walker Rettberg - 14.01.2011 - 12:33

  4. Reading, Describing, and Evaluating Electronic Literature for Archiving

    In programmierbaren Medien produzierte Literatur erfordert eine Rekonzeptionalisierung des Rezeptionsprozesses sowie die Entwicklung neuer Konzepte zur Bewertung von (elektronischer) Literatur. Dies ist notwendig, wenn kinetische oder vom Computer zufällig rekombinierte und generierte Texte, interaktive Erzählungen, Hyperfictions oder Gedichte, die als bewegte Buchstaben auf dem Bildschirm erscheinen, Analyseobjekte für Archivierungsprozesse darstellen. Erst wenn diese Voraussetzungen erfüllt sind, können tragfähige Verfahren zur Archivierung und Bewertung dieser Literatur entwickelt werden. Es geht daher nicht um die Frage, wie überlieferte Texte digitalisiert und archiviert werden können. Vielmehr geht es bei den laufenden Initiativen der „Electronic Literature Organization“ (ELO), die im Folgenden vorgestellt werden sollen, um „born-digital works“, d.h. um „elektronische Literatur“, „Netzliteratur“, oder „Literatur in neuen Medien“ (um nur drei der zahlreichen Bezeichnungen des aufstrebenden Forschungsfeldes zu nennen).

    Eric Dean Rasmussen - 22.02.2011 - 16:29

  5. Flukten fra språkfengselet

    The article, published in Norwegian in Vagant and in English as "Escaping the Prison House of Language: New Media Essays in the Electronic Literature Collection, Volume 2" on the author's website, addresses the release of the Electronic Literature Collection, Volume 2, and several new media essays and documentaries published in the collection.

    Scott Rettberg - 26.02.2011 - 16:06

  6. "Uncle Roger", an Online Narrabase

    Uncle Roger is a "narrabase" or narrative database. It was first told as an online serial on Art Com Electronic Network (ACEN) and then was published as an interactive online database on ACEN. It is also available as computer software for both Apple II and IBM-compatible computers. The narrabase form uses a computer database to build up levels of meaning. The artist explains how this form evolved from her visual books and her information databases. She discusses the story and structure of Uncle Roger and describes how the story was told and published in an online community. In the conclusion she discusses the future of computer literature.

    (Source: author's abstract for paper)

    Jill Walker Rettberg - 04.04.2011 - 20:49

  7. Bokstaver i bevegelse

    A Platform 2 Column published in Norwegian in Vagant, discussing works of kinetic poetry published in the Electronic Literature Collection, Volume 2.

    Published on the author's website in English as "Letters in Space, At Play."

    Scott Rettberg - 09.04.2011 - 16:24

  8. …ha perdut la veu: Some reflections on the composition of e-literature as a minor literature

    This article has two objectives. One is to give a clear example of the way in which practice and theory, or rather practice-as-research, can exist in a symbiotic relationship – each benefiting and illuminating the other. The second aim is to propose and map out an area of potential further research into the discursive positioning of e-literature. It draws on some of the thinking of Deleuze and Guattari around language and literature, in particular as it is articulated through a reading of them by Jean-Jacques Lecercle. In this respect it should be seen as a point of departure, not a presentation of findings. The article is an extended version of one I gave at Kingston University as part of the From Page to Screen to Augmented Reality Conference. The original article was designed to be delivered in conjunction with a video of a digital text work in performance. For this context I have taken some screenshots of that video and added them to the article. They will at least provide some sense of how the digital text work is displayed and how it functions.

    Source: author's abstract

    Jerome Fletcher - 17.06.2011 - 12:09

  9. Reproductive Technologies, Fetal Icons, and Genetic Freaks: Shelley Jackson’s Patchwork Girl and the Limits and Possibilities of Donna Haraway’s Cyborg

    This article uses Donna Haraway’s work in “A Cyborg Manifesto” to examine how new reproductive technologies and politics meet and converge with fictional representations of the posthuman subject in Shelley Jackson’s hypertext, Patchwork Girl. It argues that Jackson’s text offers a cyborgian reading of reproduction that challenges the dominant discourse surrounding new reproductive technologies. Ultimately, it argues that Jackson’s text represents assisted conceptions, cyborgian births, and monstrous progenesis in ways that explore the possibilities and limitations of the cyborg, and it addresses current preoccupations with the potential benefits and horrors of new reproductive technologies. (Source: Author's abstract)

    Eric Dean Rasmussen - 27.06.2011 - 08:22

  10. Aesthetics of Surface, Ephemeral and Re-Enchantment in Digital Literature: How Authors and Readers Deal with the Lability of the Electronic Device

    Whenever the program of a work, created by an artist, is run by a computer, the digital device necessarily plays a role in its updating process: because of the operating systems, the software and the ever changing speed of computers, the digital device may sometimes affect the author’s artistic project, or even make it unreadable on screen. Thus, readers do not know what they should consider as part of the artist’s intentionality, and what they should ascribe to the unexpected changes made by the reading device of their personal computer. Critics who are in keeping with a hermeneutic approach may ascribe certain processes, actually caused by the machine, to the artist’s creativity. What is more, authors lose control over the evolution of their work and the many updates it undergoes. Thus, the “digital” artist is given four options when dealing with the lability of the electronic device, which will be described in this article by close readings of The Dreamlife of letters by Brian Kim Stefans, Revenances by Gregory Chatonsky and La Série des U by Philippe Bootz.

    Alexandra Saemmer - 03.07.2011 - 16:03

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