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1. 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

2. The Aesthetics of Materiality in Electronic Literature

   According to the French author and theoretician Jean-Pierre Balpe, “all digital art works are first conceived outside the framework of a pragmatic relation to materiality. Any manifestation of digital art is but a simulated moment of an absent matter.”

   However, I wish to show that there is at least as much materiality in the digital media as in other media. Of course, as a formal description, digital and material can be distinguished. Digital media correspond to formalization, insofar as formalization is understood as the modelling of a given reality through the use of a formal code. But because digital media refers to the effectiveness of digital calculation, it can be considered as “material”, at least on two levels:

   Eric Dean Rasmussen - 27.01.2011 - 15:39

3. slippingglimpse

   In slippingglimpse, we model a ring in which the roles of initiator, responder, and mediator are taken by all elements in turn. Our mantra for this: water reads text, text reads technology, technology reads water, coming full circle. Reading then comes to mean something different at each stage of the poem, in all cases involving sampling. Ryan reads and captures the image of 'chreods' (dynamic attractors) in water. Strickland's poem text, by sampling, appropriating, and aggregating artists' descriptions of processes of capture, reads this process of capture. And the water reads, via Lawson Jaramillo's motion-capture coding, by imposing its own sampled pattern. A variety of reading experiences are enabled: reading images while watching text; reading in concert with non-human readers, computer and water; reading frame breaks (into scroll or background); or reading by intervening. For instance, reversibility and replay are available on the scroll, as are reading in the direction and speed you wish; while, in the water, regeneration of text is available, as are unpredictable jostling and overlays.

   Eric Dean Rasmussen - 31.01.2011 - 13:07

4. Toucher

   It may seem paradoxical to create an online work on touching. One cannot touch directly: in this case touching requires a mediating tool such as a mouse, a microphone or a webcam. This touching experience reveals a lot about the way we touch multimedia content on screen, and maybe also about the way we touch people and objects in everyday life. The internet user has access to five scenes (move, caress, hit, spread, blow), plus a sixth one (brush) dissimulated in the interface. She can thus experience various forms and modalities of touching: the erotic gesture of the caress with the mouse; the brutality of the click, like an aggressive stroke; touching as unveiling, staging the ambiguous relation between touching and being touched; touching as a trace that one can leave, as with a finger dipped in paint; and, touching from a distance with the voice, the eyes, or another part of the body. This supposedly immaterial work thus stages an aesthetics of materiality.
   (Source: Author's description from Electronic Literature Collection, Volume Two)

   Eric Dean Rasmussen - 21.02.2011 - 14:22

5. 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

6. Dichtung Digital 40

   This edition reflects upon the need of techniques to approach the ongoing upheavals taking place in today's technology-driven production of (literary) art. The contributions assembled here all discuss ways of reading cultural objects created with digital media. The objects of interest are: a computer game (Soderman), a performance of a work that houses and visualizes its literary artifacts on a website - a huge database of texts by different authors (Rettberg), default settings and electronic poetics in an age of technological determinism (Heckman), literary artifacts in between book and programmable media (Vincler), story-telling in the Gulf (Lenze), and signs in a culture of mashups (Navas). In a time when cultural objects in digital culture reconfigure the reception of their addressees, it is important to develop not only a proper understanding of the impact of these ruptures on literary communication but also an interpretation of the presented moves into the scope of scholarly discussion. Such an engagement calls for what Roberto Simanowski proposes in his contribution: "digital hermeneutics."

   Patricia Tomaszek - 06.05.2011 - 18:42

7. Following Paths of Electronic Literature

   Easy manipulation, playfulness, creative and active participation in the progress of society and culture by the development of various (art) projects are essential for the ideal of contemporary culture and society. The aim of the article is to look at the phenomena that play an important role in the field of electronic literature – interaction, materiality, performativity and the dynamics of hic et nunc, playfulness, ludification and the innovative use of platforms. The article follows contemporary trends in the field of electronic literature and simultaneously tries to outline some possible directions that electronic literature could take in the near future. (Source: author's abstract)

   Eric Dean Rasmussen - 01.09.2011 - 11:24

8. Post-Print Fiction (ENGH 400-002)

   Post-Print Fiction (ENGH 400-002)

   Eric Dean Rasmussen - 07.09.2011 - 09:25

9. The Machine in the Text, and the Text in the Machine

   "The Machine in the Text, and the Text in the Machine" is a review essay on Electronic Literature: New Horizons for the Literary (Notre Dame, IN: University of Notre Dame, 2008), by N. Katherine Hayles, and Mechanisms: New Media and the Forensic Imagination (Cambridge, Mass.: MIT Press, 2008), by Matthew G. Kirschenbaum. Both works make remarkable contributions for the emerging field of digital literary studies and for the theory of digital media. While Hayles analyses the interaction between humans and computing machines as embodied in electronic works, Kirschenbaum conceptualizes digitality at the level of inscription and establishes a social text rationale for electronic objects.

   (Source: DHQ)

   Eric Dean Rasmussen - 13.09.2011 - 14:23

10. Multimediality, Intermediality, and Medially Complex Digital Poetry

    In Grammophone, Film, Typewriter, Friedrich Kittler envisioned a digital future of demediation: all traditional differences between media and mediations would be ended in a fusion of digital numbers. Kittler’s vision, I argue in my paper, is premediated by Richard Wagner’s artwork of the future: despite their differences, both stage the dream of a multimedial future in which monomediality or medial compartmentalization is effectively aufgehoben. This idea of premediation is further explored by comparing Wagner’s music drama’s to digital multimedia works and events of the 1990’s and early years of our twenty-first century that try to fuse words, bodily gestures, sounds, and images.
    

    Patricia Tomaszek - 21.09.2011 - 14:34

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