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  1. Teaching Digital Literature: Didactic and Institutional Aspects

    Digital media is increasingly finding its way into the discussions of the humanities classroom. But while we have a number of grand theoretical texts about digital literature we as yet have little in the way of resources for discussing the down-to-earth practices of research, teaching, and curriculum necessary for this work to mature. The book Reading Moving Letters, edited by Roberto Simanowski, Jörgen Schäfer and Peter Gendolla, addresses this need and provides examinations by nine scholars and teachers from different national academic backgrounds. While the first section of the book provides definitions of digital literature as a discipline of scholarly treatment in the humanities, the second section asks how and why we should teach digital literature and conduct close readings in academia and discusses institutional considerations necessary to take into account when implementing digital literature into curricula. The following text is the introduction to section two.

    Patricia Tomaszek - 14.09.2010 - 12:33

  2. Digital Poetics or On the Evolution of Experimental Media Poetry

    The academic and literature critical discussion on new media poetry or about digital texts swings to and fro, in method and conception between two poles: one is the 'work immanent' approach of structure description and classification, and the other the deduction of abstract media esthetics. At a tangent to this the communication on media, culture and media art has been more or less committed to the priority of technological reasoning since the nineties at the latest. The concern with technology remains a dilemma: Technology has to be taken into account when dealing with concrete structure analyses of works of digital poetry, but some traps lie in wait. Is the knowledge accounted for here really sufficient? I would say that few of those taking part in the discussion who do not actually work in the specific area artistically are capable of programming digital texts (the same may be said of some artists). Another problem is something I have casually termed a new techno-ontology: a ‘cold fascination’ for technological being (also of texts), which flares up briefly with each innovation pressing for the market in the respective field.

    Patricia Tomaszek - 14.09.2010 - 14:16

  3. A Four-Sided Model for Reading Hypertext Fiction

    I will not pursue the issue of a hypertextual competence (or a multimodal hypertextual competence) here. Rather I would like to take a closer look at literary hypertext and electronic literature itself, and the fact that electronic literature, just like print literature, prefigures different modes of reading. I will insist on the necessity of examining what mode of reading and what kind of responses are prefigured in hypertexts when we make conclusions about hypertext reading. I want to approach the topic by putting weight on how Megan Heyward’s Of day, of night (2002) prefigures the reader's response. The aim of this article is to explore some of the preconditions for reading Of day, of night, and to identify three modes of reading in this hypertext fiction. In addition to these three modes I will argue for a fourth mode of reading hypertext fiction. This mode can be identified in several literary hypertexts, but is less relevant for describing the preconditions for reading Heyward's text. Consequently I will make use of other work to exemplify this mode. Four modes of reading are identified and described. These are semantization, exploration, self-reflection and absorption.

    Patricia Tomaszek - 17.09.2010 - 11:09

  4. The Strategy of Digital Modernism: Young-Hae Chang Heavy Industries's Dakota

    from Project MUSE: A prominent strategy in some of the most innovative electronic literature online is the appropriation and adaptation of literary modernism, what I call “digital modernism.” This essay introduces digital modernism by examining a work that exemplifies it: Dakota by Young-hae Chang Heavy Industries. I read this Flash-based work in relation to its literary inspiration: the authors claim that Dakota is “based on a close reading of Ezra Pound's Cantos part I and part II.” The authorial framework claims modernism’s cultural capital for electronic literature and encourages close reading of its text, but the work’s formal presentation of speeding, flashing text challenges such efforts. Reading Dakota as it reads Pound’s first two cantos exposes how modernism serves contemporary, digital literature by providing a model of how to “MAKE IT NEW” by renovating a literary past.

    Eric Dean Rasmussen - 14.02.2011 - 10:27

  5. Concrete Poetry in Digital Media: Its Predecessors, its Presence and its Future

    How does concrete poetry develop in digital media? What is its intention? What is the meaning behind it? Does the play with the symbolic orders of language question social patterns as in concrete poetry in the 1960s? Does it rather aim to free the word from its representational, designational function towards the "pure visual"? And how should one approach it? With a meaning driven soul asking for the message behind the technical effect and disparaging any brainless muscle flexing? With a spectacle driven soul enjoying all the cool stuff you can do with programming and embracing de "pure code" as new avant-garde? This essay discusses the aesthetic concept of concrete poetry and places the subject into the ongoing discussion of "software-art" and the aesthetic of the spectacle. It begins with a look back to the predecessors of concrete poetry in print media before introducing to examples of concrete poetry in digital media.

    Patricia Tomaszek - 15.02.2011 - 18:53

  6. A [S]creed for Digital Fiction

    An international group of digital-fiction scholars proposes a platform of critical principles, seeking to build the foundation for a truly "digital" approach to literary study. Published in ebr's electropoetics thread.

    Eric Dean Rasmussen - 18.02.2011 - 22:31

  7. Technics and Violence in Electronic Literature

    Technics and Violence in Electronic Literature

    Eric Dean Rasmussen - 22.02.2011 - 20:51

  8. Literature from Page to Interface: The Treatments of Text in Christophe Bruno's Iterature

    Søren Pold explores the ways in which Christophe Bruno's Iterature expands the notion of literary form and shows what happens when words are no longer only part of a language.
    (Source: ebr)

    Eric Dean Rasmussen - 01.03.2011 - 15:42

  9. These Waves of Memories: A Hyperfiction by Caitlin Fisher

    The web-based ‘hypermedia novella’ These Waves of Girls by Caitlin Fisher won the first prize in the fiction category awarded by the Electronic Literature Organization in 2001. In this article I’ll take a closer look on some of the aspects of this work, a confessional autobiography about a girl coming to terms with her lesbian identity. The article is structured around a set of relations: the relation between the critic and the work; textual and audio-visual representation; personal and social relations; hypertextual structure and autobiographical, unreliable narration. These Waves is a class-room example of the so-called associative hypertext. The hypertextual structure is also closely linked to the problematics of autobiographical narration.. As readers we get to ponder about the nature of remembering, of telling stories about one’s life. One of the genuine accomplishments of Fisher’s work is to bring forth these questions in a tangible, and still discreet, way.

    (Source: author's abstract).

    Eric Dean Rasmussen - 20.03.2011 - 09:58

  10. Letters That Matter: Electronic Literature Collection Vol 1

    John Zuern considers the significance of the first volume of ELO's Electronic Literature Collection for the future of electronic arts.

    (Source: ebr)

    Jill Walker Rettberg - 24.03.2011 - 22:30

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