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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
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Finding a Third Space for Electronic Literature: Creative Community, Authorship, Publishing, and Institutional Environments
The article addresses topics including creativity as a social ontology, reformulations of the idea of authorship in digital environments, the economics of electronic literature publishing, and the institutional challenges involved in developing academic environments for the teaching of digital writing.
(Source: Author's abstract)Eric Dean Rasmussen - 01.09.2011 - 11:17
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Friending the Past: The Sense of History and Social Computing
Reflecting on the relation between the media ages of orality, writing, and digital networking, Liu asks the question: what happens today to the “sense of history” that was the glory of the high age of print? In particular, what does the age of social computing—social networking, blogs, Twitter, etc.—have in common with prior ages in which the experience of sociality was deeply vested in a shared sense of history? Liu focuses on a comparison of nineteenth-century historicism and contemporary Web 2.0, and concludes by touching on the RoSE Research-oriented Social Environment that the Transliteracies Project he directs has been building to model past bibliographical resources as a social network. (Source: author's abstract)
Eric Dean Rasmussen - 20.10.2011 - 13:05
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Web/Fiction/Design: A brief beta-test of this year’s winner of the ELO Awards, Caitlin Fisher’s These Waves of Girls
A (literature) award usually comes with publicity as well as responsibility. As this year's ambassador of digital literature, the US-American Electronic Literature Organization chose a webfiction that does not meet the technological standards of current internet or CD-ROM productions. Neither the rather outdated technique of frames, nor Flash (a program for moving images), nor the embedding of sounds have been implemented in a way that is technologically useful (there's nor debating aesthetics) or ar least more or less correct. About 15 years after the "invention" of digital literature (this date, too, is open for discussion), the technology available has become so sophisticated that a single author obviously can no longer live up to the demands as a lonely creative genius. The quality even of praised digital literature seems to indicate that, caused by the raising of technical standards, the future lies in what collaborative writing in hypertext or online "Mitschreibeprojekte" did not mange to establish: the dismissal of authorship in the traditional sense of authoritiy over the text in favor of a plural, diverse team-work.
(Source: article abstract)
Jill Walker Rettberg - 01.11.2011 - 14:24
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Of People Not Machines: Authorship, Copyright and the Computer Programmer
Authorship of computer programs merits close attention, on one level, because it illustrates what is one of my more general observations about the relationship between ideas of authorship in law and the "digital arts": its complexity. The sphere of "digital arts" is characterised by a multiplicity of creative practices and consequently a diversity of ideas about “authorship”, which resist simplistic conclusions as to what the challenge of the digital should mean for law. At the same time, the status of computer programmers as authors draws attention to what for modern lawyers is likely to be an unexpected and counter-intuitive observation about certain aspects of the relation between digital art and law: far from always a source of challenge, the discourses of authorship in the "digital arts" can also provide the law with assistance. Indeed, as we will see, in humanising technology and exalting the computer programmer as a creative poet, certain discourses of digital art can in fact provide coherence and legitimacy to legal concepts of authorship, rather than challenging them.
Elisabeth Nesheim - 27.08.2012 - 14:08
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The Aesthetics of Generative Literature: Lessons from a Digital Writing Workshop
This paper explores a range of issues related to the pedagogy and practice of generative writing in programmable media. We begin with a brief description of the RiTa toolkit – a set of computational tools designed to facilitate the practice of generative writing. We then describe our experiences using these tools in a series of digital writing workshops at Brown University in 2007-2008. We discuss and theoretically examine a set of core issues raised by workshop participants — distributed authorship, the aesthetics of surprise, materiality, push-back, layering, and others — and attempt to situate them within the larger discourse of generative art and writing practice.
Jill Walker Rettberg - 09.10.2012 - 21:23
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Reconfiguring the Author: The Virtual Artist in Cyberspace (Keynote Address)
In this presentation, Mark Amerika will discuss the state of narrative art in online culture. The presentation will highlight issues that concern all artists working on the Internet today including the slippery tensions between text and image, the desire to pioneer new modes of interventionist cultural production and distribution, the problematization of the "individual artist/author as genius" model, and the blurring of the lines between art, entertainment and what the corporate media industry likes to call content.
Jill Walker Rettberg - 09.10.2012 - 22:05
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The Distributed Author: Creativity In the Age of Computer Networks
The Distributed Author: Creativity In the Age of Computer Networks
Jill Walker Rettberg - 09.10.2012 - 22:50
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Interrogating Electronic Literature
A video-essay by Talan Memmott and David Prater
Does electronic literature have a future? Is Google the end of the World? What is the role of digital poetics in global politics? These issues and more are discussed with J. R. Carpenter, John Cayley, Maria Mencia, Scott Rettberg, Alexandra Saemmer, Roberto Simanowski, and Jaka Železnikar.
The video-essay was shot September 2011 at the ELMCIP Electronic Literature and New Media Art Seminar in Ljubljana Slovenia.
Scott Rettberg - 03.11.2012 - 11:33
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Meta Discourse: An Investigation into Possibilities of Meta-Fictions in the 21st Century
The old rites of literature are quickly starting to come to a head, and as we move through the 21st century we will find ourselves staring into new modes of expression of literary concepts that we have known only on the printed page for centuries prior. Meta-fiction not only allows for new ways of approaching a narrative but also new ways of approaching literature in general, including electronic literature. Questioning the boundaries between the reader and the writer, the audience and the performer, the characters in the text and the ones reading it, one might say that meta-fiction was one of the first forms of hypertext mediums in which the reader was encouraged to draw on outside influences and information to arrive at the heart of the text. This understanding of meta-fiction, then, makes it an appropriate place to begin an analysis of new modes of discourse and the variability of the messages presented. In such a textually-conscious style of writing, how does the narrative alter according to the mode of presentation while still retaining a questioning and awareness of the literary roots?
Scott Rettberg - 07.01.2013 - 22:39
