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"Make Me Think": Composing the Narrative Interface
"Make Me Think": Composing the Narrative Interface
Stig Andreassen - 25.09.2013 - 15:10
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A Site for Collaborative Reading of E-Lit
As scholars experiment with collaborative, multimodal approaches to analyzing electronic literature, the tools, methods, and practices of such collaboration become increasingly an issue. How do we share, edit, archive, and publish arguments that address and evolve across multiple types of data, platforms, and disciplines? How can the approaches (data visualization, code analysis, textual explication, bibliographic history, etc.) be shared in ways that other scholars can engage not just with the final interpretations but also with the processes that lead to them? Recent publications such as 10 PRINT CHR$ (205.5 + RND (1)); : GOTO 10, represent the value of such collaborative efforts in combining media archaeology, platform studies, software studies, and Critical Code Studies. Our own work in collaboratively close reading William Poundstone’s “Project for Tachistoscope: [Bottomless Pit],” which we presented at ELO 2010 (held at Brown University) and are now developing as a book for Iowa UP, has prompted us to reflexively consider how the processes of our own collaboration might prove generative to other scholars.
Stig Andreassen - 25.09.2013 - 15:20
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Reading the Drones: Working Towards a Critical Tradition of Interactive Poetry Generation
Computer-generated poetry is now almost sixty years old, stretching from the work of Christopher Strachey, Jackson Mac Low and Theo Lutz in the 1950s to the wealth of interactive poetry generators freely available online today. According to Antonio Roque, this history comprises four distinct (but overlapping) ‘traditions’: the Poetic; the Oulipo; the Programming; and the Research. But despite the inherent ‘literariness’ of the enterprise, one tradition is conspicuous by its absence: the ‘Critical’. It is the object of this paper to rectify this omission, proposing a mode of critical engagement that might allow interactive poetry generators to be naturalised as objects of textual study according to the protocols of literary criticism. It seeks to achieve this by means of a comparative analysis between what might be construed as the first interactive poetry generator – Tristan Tzara’s ‘How to Make a Dadaist Poem’ – and one of the most recent (and most powerful) – Chris Westbury’s JanusNode.
Kriss-Andre Jacobsen - 04.10.2013 - 11:14
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To Grasp or not to Grasp. A Phenomenological Approach to Serge Bouchardon's E-Literary Pieces
To Grasp or not to Grasp. A Phenomenological Approach to Serge Bouchardon's E-Literary Pieces
Arngeir Enåsen - 04.10.2013 - 12:01
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New literatures for a new imaginary: some hispanic case studies
These days, commonplaces are repeated about contemporary literatures: new readers, new ways of reading, globalization, etc., because we are witnessing a global change in the way of leaving and interacting, an unprecedented acceleration of the circulation of products and materials, of people, texts and memories that make us learn and look into the world in a different way. The national and global imaginaries coexist and are producing literatures, but, in fact, we do not find enough contrasted experiences and studies that show us how these two imaginaries are working together. It is time for us to ask whether interrelations between global, regional, national, social, generational, sexual memories are modifying the patterns of production and consumption of reading of digital literatures in a very particular way and, in this case, it is also time to change the way in which we approach the text and the way we teach and learn literature.
Arngeir Enåsen - 14.10.2013 - 14:52
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Rethinking Comparative Literature: Literary Studies in the Age of Electronic Media
Rethinking Comparative Literature: Literary Studies in the Age of Electronic Media
Arngeir Enåsen - 14.10.2013 - 14:57
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Exopoiesis and literariness in the works of William Gibson, Mark Z. Danielewski, Kate Pullinger and Chris Joseph
Over the last two decades, many recent forms of electronic literature have revealed a strong aptitude for hypertextuality and hypermediality. Meanwhile, we have assisted to the progressive emergence of innovative examples of print fiction that may be defined as «writing machines»,1 because they strive to incorporate the aesthetics and the symbolic forms of the electronic media. These kinds of narrative are often characterised by an "autopoietic" potentiality, since they often tend to include a multiplicity of media sources while preserving the autonomy of their literary function. As Joseph Tabbi observes: «Defining the literary as a self-organizing composition, or poiesis, is not to close off the literary field; instead, by creating new distinctions such a definition can actually facilitate literary interactions with the media environment».2 At the same time, some examples of print and electronic 'writing machines' are also characterized by an «exopoietic function».
Arngeir Enåsen - 14.10.2013 - 15:08
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E-Literary Text in Nomadic Cockpit
New mobile technologies shape the way, in which people communicate and perceive the reality. Our basic position is the nomadic cockpit (expression coined by the author of this paper) in terms of being armed with many of navigating and controlling mobile screenic devices (from cell phones and tablets to consoles, cameras, and various players). When we move around in our surroundings armed with such devices we perceive the data shown on the screen of such a device, meaning that both the visual and aural interfaces are integrated in our experience of walking or riding environment. Virtual data approaching from the remote context on the screen are related to and coordinated with our basic, non-mediated perception from the physical here and now, meaning that the digital technology, provoking one’s hands on controls activity becomes incorporated in the experience and understanding of our being-on-the-move. This paper aims to explore the way in which the present mobile culture enters some movements in new media art and e-literature that presuppose the interactions between the moving bodies and the words and images on the move.
Arngeir Enåsen - 14.10.2013 - 15:15
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Read Fast, Die Young? – Interpreting Young-Hae Chang Heavy Industries’ Flash Poem Dakota
In this paper I discuss Young-Hae Chang Heavy Industries’ digital poem Dakota. I discuss how the poem controls the reader’s experience and how this control affects its possible interpretations. The control is mostly executed by limiting the reader’s freedom over reading. Reading time, direction and duration are determined by the poem. It is only possible to start the poem, but not rewind, stop or fast-forward it. Furthermore, the manipulation of speed affects reading in many ways. In the fast extreme the effect is illegibility, but more subtly used speed creates varieties of emphasis and de-emphasis. The effect of emphasis of this kind, I argue, creates different layers of readings and invites re-reading. These different readings require different cognitive modes, which mirror our contemporary reading habits. Not being in control of the reading process also leads to a scattered sense of unity, one of postmodernism’s essential traits. While reading the poem I also question why I read as I do, and by doing so I hope to present more general traits of how to approach digital literature.
Arngeir Enåsen - 14.10.2013 - 15:20
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Golden Days, Silver Nights: Locating Utopia through Diminished Reality
This talk introduces Golden Days, Silver Nights, a new steampunk-themed, alternate-history locative adventure game designed to provoke critical thinking about political history and social progress. The game is designed around the life and writings of William Jennings Bryan (1860-1925), celebrated orator, infamous crusader against commercial monopolies, and the alleged inspiration for L. Frank Baum's Wizard of Oz. Bryan first ran for U.S. President in 1896 as the candidate for the fused Democratic and Populist parties, inspired in part by the socialist vision of Edward Bellamy's fabulously popular utopian fiction, Looking Backward (1888). But if Bryan began his career a progressive, he ended it a militant reactionary and notorious anti-Darwinian. By some accounts, his campaign permanently derailed the American progressive movement, and with it, the hopes and dreams of utopian socialists. Taking its cue from alternate histories by Robert Heinlein and others, Golden Days, Silver Nights begins with the counter-factual premise that Bryan won the 1896 election and went on to reshape America's destiny, though not in the image of Bellamy's technologically utopian socialist future.
Arngeir Enåsen - 14.10.2013 - 15:23
