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The Metainterface: The art of platforms, cities and clouds
Metainterface is about interface aesthetics and culture, and as an analytical strategy, it focuses on the tendency in art that reflects the contemporary interface; that is, on readings of artworks. In this sense, it presents contemporary art works, but it also reflects on the current challenges of contemporary interface culture in a situation where the computer’s interface seemingly both becomes omnipresent and invisible; where it at once is embedded in everyday objects and characterised by hidden exchanges of information between objects; or, what it conceptualizes as a metainterface. By bringing the tendency in artworks forward, the book aims to demonstrate how certain critical interfaces have an ability to reflect the deeper fissures within new technologies and the production of the work of art itself; an ability to show us an interface, after the interface has seemingly disappeared into ‘smart’ futures and new promises of anticipation, participation, and emancipation.
Søren Pold - 31.10.2017 - 13:50
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Locating New Literary Practices/Expressions in Indian Digital Spaces
Locating New Literary Practices/Expressions in Indian Digital Spaces
Shanmuga Priya - 15.11.2017 - 09:38
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Electronic Literature Translation : Translation as Process, Experience and Mediation
Electronic Literature Translation : Translation as Process, Experience and Mediation
Søren Pold - 01.06.2018 - 15:25
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The Metainterface: The art of platforms, cities and clouds
The Metainterface: The art of platforms, cities and clouds
Søren Pold - 01.06.2018 - 15:33
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‘Writing for’ with Authority: Theorizing an Electronic Edition of Shahriar Mandanipour’s Censoring an Iranian Love Story
Censoring an Iranian Love Story (CAILS) by Shahriar Mandanipour (2009) is a novel written for translation. Despite being penned in Farsi, this original text has yet to be published. CAILS simultaneously presents the initial titular love story (bold), pre-emptively censored text before it is ‘submitted’ to the Iranian Ministry of Culture and Islamic Guidance (bold with strikethrough), and explanations as to why censoring occurred (roman). Mandanipour’s voice has the authority that comes with writing in a mother tongue, yet in writing for translation he disavows authorial privilege. A non-hierarchical electronic text that enables the reader to shift between the ‘original’, censored, and ‘annotated’ text, as well as these options within the original Farsi, could restore authority to the writer. By theorising such an edition, I explore the possibility of a novelistic form that would enable and empower non-English writers to cross linguistic, social, cultural, political, religious, and censorship boundaries.
David Wright - 07.03.2019 - 03:58
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The Interlocutor in Print and Digital Fiction: Dialogicity, Agency, (De-)Conventionalization
Digital fiction typically puts the reader/player in a cybernetic dialogue with various narrative functions, such as characters, narrative voices, or prompts emanating from the storytelling environment. Readers enact their responses either verbally, through typed keyboard input, or haptically, through various types of physical interactions with the interface (mouseclick; controller moves; touch). The sense of agency evoked through these dialogic interactions has been fully conventionalized as part of digital narrativity. Yet there are instances of enacted dialogicity in digital fiction that merit more in-depth investigation under the broad labels of anti-mimeticism and intrinsic unnaturalness (Richardson, 2016), such as when readers enact pre-scripted narratees without, however, being able to take agency over the (canonical) narrative as a whole (Dave Morris’s Frankenstein), or when they hear or read a “protean,” “disembodied questioning voice” (Richardson, 2006: 79) that oscillates between system feedback, interior character monologue and supernatural interaction (Dreaming Methods’ WALLPAPER).
Astrid Ensslin - 13.06.2019 - 00:01
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Electronic Literature as Paratextual Construction
The following discussion aims to reflect on how electronic literature and affiliated or related fields describe themselves paratextually. I will argue that the social construction of ‘electronic literature’ is dominated by its systemic self-description. The paratextual construction basically works with the ascription of the genre name ‘electronic literature’ and discursive descriptions or reflections to phenomena of artistic practice and has been institutionalized in no small part by the Electronic Literature Organization. The argument is developed by observing paratextual practices in founding narratives, archives and collections related to the ELO. This perspective is contextualized by looking at self-descriptions in the pre-history of e-lit within the artistic program of poietic experimentation.
David Wright - 28.08.2019 - 03:11
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On Generative Poetry: Structural, Stylistic and Lexical Features
This paper deals with key aspects of the Oulipo and Dada methods and their implementation in electronic generative poetry. Oulipian constraints such as acrostics, tautograms, simple numerical limitations and combinatory algo-rithms are easily integrated into digital environments. The analysis of structural, lexical and stylistic peculiarities of generative poetry is illustrated by permuta-tional schemes (Poem.exe by Liam Cooke, Book of all Words by Józef Żuk Piwkowski), combinatory patterns (Frequency by Scott Rettberg) and syntactic templates (Dizains by Marcel Bénabou, Triolets by Paul Braffort) of electronic poems. Many combinatory and permutational electronic poems present tech-nologically improved versions of the Oulipo constraints and Dada techniques such as open-form poetry and the use of image and graphic components in its structure. However, the electronic environment gives them an ambivalent sta-tus. Although the surface of an electronic poem looks open and random, its inward structure is preconfigured to use established parameters.
Svetlana Kuchina - 16.09.2019 - 12:55
