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Über Literatur und Digitalcode / Digital Code and Literary Text
"This paper is based on the general (yet disputable) assumption that the theoretical debate of literature in digital networks has shifted, just as the poetic practices it is shaped after, from perceiving computer data as an extension and transgression of textuality (as manifest in such notions as "hypertext'', "hyperfiction'', "hyper-/ multimedia'') towards paying attention to the very codedness - i.e. textuality - of digital systems themselves."
Original text by Florian Cramer, retrieved from https://www.netzliteratur.net/cramer/digital_code_and_literary_text.html
Johannes Auer - 05.11.2012 - 22:23
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Words Made Flesh. Code, Culture, Imagination
Executable code existed centuries before the invention of the computer in magic, Kabbalah, musical composition and experimental poetry. These practices are often neglected as a historical pretext of contemporary software culture and electronic arts. Above all, they link computations to a vast speculative imagination that encompasses art, language, technology, philosophy and religion. These speculations in turn inscribe themselves into the technology. Since even the most simple formalism requires symbols with which it can be expressed, and symbols have cultural connotations, any code is loaded with meaning. This booklet writes a small cultural history of imaginative computation, reconstructing both the obsessive persistence and contradictory mutations of the phantasm that symbols turn physical, and words are made flesh.
Johannes Auer - 08.11.2012 - 15:55
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The Web is Paratextual: An Exploration of the Web's Architecture from a Paratextual Perspective
Contrary to what one might assume when comparing the materiality of the book-as-object to the Web, this paper proofs what the title promises and projects Gérard Genette's '87 book-based paratext theory onto the Web. Elements of the Web’s architecture selected for this paratextual study include textual units that are exposed in browser windows, thereby taking into consideration Hypertext Markup Language (HTML) and the structure of website-addresses and links.The presentation concludes with examples from electronic literature, that is literature in programmable media, an artistic practice employing language-driven, linguistic, and literary features in multi-medial, digital environments carried out by an artist, programmer, designer, or computer program.
Patricia Tomaszek - 07.12.2012 - 11:46
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Between Code and Motion: Generative and Kinetic Poetry in French, Portuguese, and Spanish
This article looks at works of electronic poetry in French, Portuguese, and Spanish. While video and digital experiments in these languages date back to the 1970s and 1980s, the works considered here are mostly post-World Wide Web, i.e., produced between the mid-1990s and 2009. The article discusses the work of Philippe Bootz, founding member of Lecture, Art, Innovation, Recherche, Écriture (LAIRE) and theorist of programmed literature. It comments on the relationship between digital computer code and literature, addressing the materiality of the display and poetics. Other topics explored include programming poetry, patterns of specific writing processes, and automatic text generation. Through analysis of computer-assisted multimodal and retroactive forms, this essay discusses the role played by code and motion in digital works. It also stresses the function of language as cultural form in electronic literature.
(Source: Author's abstract)
Scott Rettberg - 23.01.2013 - 23:20
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Writing the World: Toward a Systems Approach to E-Writing
Code – The Language of Our Time, new media poetics, and p0es1s. The Aesthetics of Digital Poetry, are three widely regarded collections dealing with e-writing and its code from a humanist perspective. As an indication of how emergent this field of study is, in the several essays and papers that treat computer program code in these works, almost no actual code is presented for analysis or as concrete examples of the abstractions that their authors discuss.
This is altogether understandable. There was no aesthetic arc hovering over and guiding the transition from legacy print writing to e-writing. In fact there was virtually no transition. Ewriting was suddenly there (here). And its foundation, program code, was an immediate fact that few students of literature had been trained to understand. Before they could, a framework had to be built within which this new literature, whose tools of craft are so obscure and esoteric, could be reasoned about and judged. Program code problematizes literary study at its very essence—at the act of creation.
Scott Rettberg - 30.01.2013 - 21:39
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The Trivial Program "yes"
A trivial program, one that simply prints “y” or a string that is given as an argument repeatedly, is explicated and examined at the levels of function and code. Although the program by itself is neither interesting or instructive, the argument is presented that by looking at “yes” it is possible to better understand how programs exist not only on platforms but also in an ecology of systems, scripts, and utilities.
(Source: Author's abstract, prepared for the Critical Code Studies Working Group 2012.)
Scott Rettberg - 19.02.2013 - 12:10
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10 PRINT CHR$(205.5+RND(1)); : GOTO 10
This book takes a single line of code—the extremely concise BASIC program for the Commodore 64 inscribed in the title—and uses it as a lens through which to consider the phenomenon of creative computing and the way computer programs exist in culture. The authors of this collaboratively written book treat code not as merely functional but as a text—in the case of 10 PRINT, a text that appeared in many different printed sources—that yields a story about its making, its purpose, its assumptions, and more. They consider randomness and regularity in computing and art, the maze in culture, the popular BASIC programming language, and the highly influential Commodore 64 computer.
(Source: Publication website)
Elisabeth Nesheim - 07.03.2013 - 15:45
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cut to fit the tool-spun course
"cut to fit the toolspun course" includes a new gloss by the authors on the original JavaScript code. The code was originally published with some comments to assist those who might want to modify or re-use it; this version expands on those comments to explain more about the process of developing the generator and to reflect on the nature of comments and the glossing of code. This file, including comments both practical and reflective, is offered as one model for the criticism of literary works written in code.
Scott Rettberg - 03.07.2013 - 13:08
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Reorienting Narrative: E-lit as Psychogeography
Illya Szilak interviews J. R. Carpenter in her on-going series of posts on E-Lit for Huffington Post Books.
J. R. Carpenter - 08.07.2013 - 11:54
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Transdução: Processos de Transferência na Literatura e Arte Digitais
Electronic Literature and Digital Art share many processes, themes, creative and theoretical guidelines. In this sense, I developed a critical framework that could resist to a hyperdisciplinary analysis and include one of the characteristics of this sharing pattern: the transfer and transformation processes. In order to recognize these processes I have done an approach of the transduction concept that could perform a theoretical migration on these aspects: the transducer function. Thus, the transducer function appears in the critical analysis of the works by Mark Z. Danielewski, Stuart Moulthrop, R. Luke DuBois and André Sier. The selected works are representative of the following genres: novel, hyperfiction, net.art and digital installation, drawing on phenomena and concerns resulting from the creative production within the digital culture. In this research I have enhanced mechanisms, patterns, languages and common grounds: authorship, user, cybertext, surface, hypertext, infoduct, interactivity, pixel, algorithm, code, programming, network, software and data. (Source: Author's abstract)
Alvaro Seica - 15.08.2013 - 15:59
