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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. 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

3. Ping Poetics

   Sandy Baldwin investigates the manner in which a computer "ping trace" can be classified as a form of digital poetics, and discusses the underlying symbolic practices of both poesis and poetics that encompass coding and computation.

   Eric Dean Rasmussen - 21.09.2010 - 11:27

4. Figures in the Interface: Comparative Methods in the Study of Digital Literature

    This paper, which is part of the collection of essays Reading Moving Letters (see introduction) reflects on what the emerging field of digital literature studies and the more established (but continually evolving) discipline of comparative literature might contribute to one another in terms of defining concepts and methods of literary analysis. My discussion is guided by the tentative proposition that the vexed status of the "national language" for comparative literature can be seen as analogous to the status of the "digital" for scholars undertaking research on computer-based literary texts. Aiming to overcome the ideological strictures of nationalism, many present-day comparatists are returning to the old question "what is literature?" and are placing renewed emphasis on the role of figurative language as a defining feature of literary texts and, consequently, as the appropriate focus of comparative textual analysis.

   Jill Walker Rettberg - 25.03.2011 - 15:17

5. Aesthetics of Surface, Ephemeral and Re-Enchantment in Digital Literature: How Authors and Readers Deal with the Lability of the Electronic Device

   Whenever the program of a work, created by an artist, is run by a computer, the digital device necessarily plays a role in its updating process: because of the operating systems, the software and the ever changing speed of computers, the digital device may sometimes affect the author’s artistic project, or even make it unreadable on screen. Thus, readers do not know what they should consider as part of the artist’s intentionality, and what they should ascribe to the unexpected changes made by the reading device of their personal computer. Critics who are in keeping with a hermeneutic approach may ascribe certain processes, actually caused by the machine, to the artist’s creativity. What is more, authors lose control over the evolution of their work and the many updates it undergoes. Thus, the “digital” artist is given four options when dealing with the lability of the electronic device, which will be described in this article by close readings of The Dreamlife of letters by Brian Kim Stefans, Revenances by Gregory Chatonsky and La Série des U by Philippe Bootz.

   Alexandra Saemmer - 03.07.2011 - 16:03

6. Compte-rendu critique de l'oeuvre "Étang" de Alexandra Saemmer

   Dans l’article qui suit, nous aborderons Etang d’Alexandra Saemmer comme un artéfact littéraire à remettre dans un contexte en utilisant le vocabulaire de la sémiotique littéraire et en l’envisageant dans l’esprit du rhizome développé par Gilles Deleuze et Felix Guattari. Le poème virtuel fera d’abord l’objet d’un résumé dans lequel l’importance de l’eau sera mise en relief afin de replacer le poème dans le contexte qui l’englobe.  Par la suite, à travers paradoxes, contrastes et jeu d’emboîtement relevés dans le texte, nous verrons comment s’articule le thème de la mort dans ce poème sombre. Nous terminerons l’analyse en tentant de voir à quel type d’exercice de style se sont livrés les deux théoriciens de Mandelbrot.fr et dans quel but celui-ci a été réalisé.

   Alexandra Saemmer - 04.07.2011 - 17:35

7. Dissonance in Multi-Semiotic Landscapes in the Work Of Donna Leishman

   I come to the field of digital literature from the position of a visual artist. My formative training in illustration grounded an interest in sequential art and literary themes. My work draws on literary subject matters, contains chronological cause and effect, and strongly features protagonists. I am a thematic recycler similar to that described by H. Wozniak (2008) a re-framer of often folkloric motifs - with an aim to renew, revitalises, or debunk, the pre-existing content. Visuality, the auteur interface, and folk narratives are fundamental features in the communication of my aesthetic. How then these aspects function and their importance in terms creating a meta dissonance will be detailed and discussed in the paper, with reference to how such an approach sits within the context of interactive literary art.

   Patricia Tomaszek - 12.08.2011 - 15:59

8. The Significance of Navigation and Interactivity Design for Readers’ Responses to Interactive Narrative

   Interactive (or 'hypertext') fiction is a significant new art form because of the highly innovative narrative structures and delivery platforms it embraces, and yet in many extant examples the narrative and the delivery platform, the interface, are not happily wedded. This 'mis-match' can lead to negative experiences for readers. This paper discusses the style and usability of the interface, aiming to offer some guidance to writers. As well as considering the relevant literature, I refer to data from my empirical study of readers' responses to a range of interactive (hypertext) fiction, as supporting evidence for the conclusions offered. I argue that the design of the interface and its navigation systems are of absolutely crucial significance for readers' engagement and absorption with the narrative.

   Patricia Tomaszek - 22.09.2011 - 17:47

9. Visionary Landscapes: Literature on the Edge of Time and Space

   Introduction to a special issue of Hyperrhiz presenting a collection of essays, artist papers, reviews, and literary works from the Electronic Literature Organization's (ELO) 2008 conference held at Washington State University Vancouver, in Vancouver, Washington [livinginswwashington.net], from May 29 to June 2, which was hosted by Dene Grigar and John Barber.

   Dene Grigar - 06.10.2011 - 06:55

10. Entre Ville: This City Between Us

    Entre Ville: This City Between Us

    J. R. Carpenter - 11.10.2011 - 19:10

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