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1. Russian E-Lit 1.0 - 3.0

   Russian E-Lit 1.0 - 3.0

   Natalia Fedorova - 29.01.2013 - 02:46

2. A Literatura Factorial [l!]

   By focusing on hyperfiction, this paper presents some proto-hyperfictions, dealing with literature's combinatorial processes (ars combinatoria), and with its composition based on permutations. This practice, which continues today, although using different techniques and effects, I call factorial literature [l!]. My aim is to introduce the concept of factorial literature as a transtemporal genre that has been intensified in the context of electronic literature. In the analysis of hyperfiction, I return to the definitions of hypertext by Theodor Holm Nelson (1965) and Gérard Genette (1982). Referring back to essays by Italo Calvino (1967) on literature, mathematics and cybernetics, and articles by Robert Coover (1992, 1993) about the new literary practices in digital environments, I prepare the coordinates for a revaluation of hyperfiction's recent history and its software, namely through the transient concept of constant restart, associated with the reader's new role as user.

   Patricia Tomaszek - 02.07.2013 - 17:01

3. A világháló metaforái

   A szerző széleskörűen mutatja be a művészet és a világháló kapcsolatát, igyekezvén egyensúlyban tartani e két terület összefonódásának pozitívumait és negatívumait egyaránt. Olvasmányos stílusa minden érdeklődőt kielégítően vezet be egy modern világba, s a világhálón megszületett „újszerű tudás” bemutatásával fontos térképe lehet mindazoknak, akik nem találják helyüket a mediatizált művészet útvesztőjében.

   Jill Walker Rettberg - 03.07.2013 - 00:28

4. Tierra de Extracción: How Hypermedia Novels could enhance Literary Assessment

   Howard Gardner's theory of Multiple Intelligences suggests that there are at least eight different types of intelligence. Due to genetic variation and personal experiences, no two people have the same combination of intelligences. These do not only signal the way we interpret and cope with the world around us but the way we react to it. It is no coincidence that Reader Oriented Theories focus on the role of the reader in processing and interpreting text and not solely on textual perception. As readers and students of literature, the act of interpreting is key to understanding; but limited by outdated methodologies of assessment the opportunity to demonstrate what has been learned is practically bound to their linguistic intelligence. With the change of medium, from paper to screen, literature has undergone a kind of art and media hybridization that far from being something new and original recovers and allows the coexistence of multiple means of storytelling that extend the concept of reading, understanding and expression.

   Scott Rettberg - 04.10.2013 - 11:02

5. Beyond Binaries: Continuity and Change in Literary Experimentation in Response to Print and Digital Technologies.

   While many critics have compared the current digital age in communications media with the print revolution that began in the 15th century, these discussions have focused primarily on the differences, as opposed to the similarities between the two moments in history (Bolter, Landow, Hayles). As an author and critic involved in exploring new approaches to digital fiction, I, too, am keenly aware of the distinct differences between the age of print and the current digital age. Nevertheless, I have also been struck by many similar concerns in the specific types of literary experimentation taking place in response to new authoring and publishing technologies today with those undertaken in the past in response to print technology. In this paper, I consider specific instances of experimentation that arose in response to print technology in works of fiction published in the eighteenth century (Richardson, Pope, Sterne) with literary experimentation in response to digital technologies (Moulthrop, Montfort/Strickland, Rodgers).

   Rebecca Lundal - 04.10.2013 - 11:30

6. Post-digital Books and Disruptive Literary Machines

   The e-book has been launched several times during the last decades and the book’s demise has often been predicted. Furthermore networked and electronic literature has already established a long history. However, currently we witness several interesting artistic and literary experiments exploring the current changes in literary culture – including the media changes brought about by the current popular break-through of the e-book and the changes in book trading such as represented by e.g. Amazon’s Kindle and Apple’s iBooks – changes that have been described with the concept of controlled consumption (Striphas, 2011, Andersen & Pold, 2012). In our paper we want to focus on how artistic, e-literary experiments explore this new literary culture through formal experiments with expanded books and/or artistic experiments with the post-print literary economy. Examples of the first are Konrad Korabiewski and Litten’s multimedia art book Affected as Only a Human Can Be (Danish version, 2010, English version forthcoming) and our own collaborative installation Coincidentally the Screen has turned to Ink (presented at the Remediating the Social conference, Edinburgh 2012).

   Fredrik Sten - 17.10.2013 - 17:39

7. Lineages of German-language Electronic Literature: the Döhl Line

   There are numerous essays and reviews on German-language electronic literature, which run from the mid nineties to the present day. Most of these texts, however, are written in German – a language that is no longer accepted and common as an universal language for science.

   In order to present the overview of German language electronic literature, we filtered out some historical lines that may explain better how the development of individual genres came about. A good starting point may be the very first experiments of authors with computers to generate electronic poetry, a subject the international community mostly agrees upon.

   The following model of historical lines of development is suggested:

   Scott Rettberg - 27.10.2013 - 16:48

8. Elogio del texto digital. Claves para interpretar el cambio de paradigma

   Las mismas personas que, en el pasado sentimos un cierto rechazo hacia la idea de leer en una
   pantalla y alejarnos del romanticismo del libro, hemos terminado sucumbiendo en la tentación
   de comprarnos un libro electrónico. En la actualidad, estamos presenciando un momento decisivo
   en que la memoria documental de la humanidad está siendo transferida del papel a un
   nuevo formato constituido por las nuevas tecnologías de la información y la comunicación: el
   formato digital. Como lo defne Javier Celaya en el prólogo, Elogio del texto digital (2012) de
   José Manuel Lucía Megías, pretende ser un “quitamiedos” para todos aquellos que ven el texto
   en formato digital como una amenaza contra el libro impreso.
   Megías refexiona acerca del famoso debate, recurrente en conferencias y mesas redondas,
   sobre si el libro electrónico sustituirá por completo al impreso y si habrá consecuencias catas -
   trófcas en los derechos de autor y la distribución y publicación de los libros. Es común
   encontrar intelectuales que desprecian el acto de la lectura en una pantalla o que piensan que la
   

   Maya Zalbidea - 23.01.2014 - 12:27

9. Más allá del papel. El hilo digital de la ficción impresa.

   Ante el despunte de los medios digitales en una cultura transformada por el hipermedia, por la inmersión en los espacios virtuales y por los nuevos hábitos sociales de lectura, el universo de la ficción que se nos ha transmitido de forma impresa comienza a replantearse su contexto pasado para hallar un espacio en el futuro. Este libro busca respuestas a una cuestión clave cuando hablamos de digitalización de obras de ficción previamente impresas: ¿es posible trasladar y de qué manera la memoria cultural del libro impreso a una memoria virtual caracterizada por el hipertexto, la inmersión audiovisual y la participación escrilectora?

   Maya Zalbidea - 04.08.2014 - 13:00

10. Hypertext Revisited

    This article proposes a new approach to literary hypertext, which foregrounds the notion of interrupting rather than that of linking. It also claims that, given the dialectic relationship of literature in print and digital-born literature, it may be useful to reread contemporary hypertext in light of a specific type of literature in print that equally foregrounds aspects of segmentation and discontinuity: serialized literature (i.e. texts published in installment form). Finally, it discusses the shift from spatial form to temporal form in postmodern writing as well as the basic difference between segment and fragment.

    J. R. Carpenter - 05.01.2015 - 15:33

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