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Digital Literature and the Digital
In this article, the approach to the Digital is based on the distinction between three levels: a theoretical level, an applicative level and an interpretative level. Now digital literary works play on the tensions between the three levels and allow these tensions to be highlighted. Studying the conjunction of the Digital and of literary creation – by analysing digital literary works – thus proves to be relevant. Looking into the specific properties of the Digital can throw light on the potentialities of digital literature; in the same way, digital literature can act as a revealer for the Digital.
Serge Bouchardon - 17.06.2011 - 12:09
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SURFACE TEXT: Text as Surface in Immersive 3D Environments
When we address ourselves to digitally mediated writings practices, it is clear that the properties and methods of the surface of inscription are at issue. The inscriptional surfaces of digital media are complex, even when manifest as relatively passive 'screens' that emulate paper-like media. At the very least, these surfaces bear properties that reinforce the necessity for 'media-specific analyses,' as Katherine Hayles puts it. Related and corresponding complexities are demonstrable in what we may describe as the 'atoms' of inscriptional practice in digital media, the programmable differance-engines that leave their traces on just such complex surfaces. These features are, literally, 'spectacularly' in evidence when applied to writing for 3D immersive environments such as the three-wall Cave at Brown University, where new engagements with writing have been practiced experimentally and pedagogically since 2002. This presentation will report on recent writing and literary art practice in Brown's Cave with some reference to the critical and theoretical context that the author has been seeking to provide for this variety of writing digital media.
Christine Wilks - 20.01.2012 - 16:27
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Performances Of Writing In The Age Of Digital Transliteration
SUMMARY
This paper addresses and attempts a reconfiguration of the theory and practice of writing (and/or language art) in networked and programmable media (hereafter, in this abstract, abbreviated as "npm").
A number of problems provoke the paper's arguments, problems and concerns which arise from the current practice of language art in npm :
- the problematic (non-)engagement of language artists (poets) with text-making in npm
- the (non-)engagement of visual, cinematic, audio-visual artists (especially those who are currently working in npm) with practicing language artists
- the identification of those characteristic of textuality which are proper to npm (this involves a critique of hypertext, when hypertext is seen as a definitive or determinative genre in npm ) and the relationship of these characteristics to demonstrable language art practice
- the (mis-)assimilation by established literary culture of rhetorical technologies which are emergent in npm.
Thus, while the paper's arguments are theoretical or expository, there is also an underlying agenda, which might be expressed in a more polemical fashion:
Jill Walker Rettberg - 15.10.2012 - 14:43
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Touching Words
Cris Cheek, Maria Engberg, Jörg Piringer, and Christine Wilks discuss tactile media, intentionality, messy screens, and electronic literary works fading into the past. The video-essay was shot at the ELMCIP Digital Textuality with/in Performance Seminar held in Bristol UK. May 2012. Electronic Literature as a Model of Creativity and Innovation in Practice (ELMCIP) is a collaborative research project funded by the Humanities in the European Research Area (HERA) JRP for Creativity and Innovation. Length: 9:29
Scott Rettberg - 03.11.2012 - 11:15
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Infinite Interfaces and Intimate Expressions: Hand-Held Mobile Devices and New Reflective Writing Spaces
In my presentation I will examine hand-held mobile interfaces and the complex possibilities they provide for self-reflective digital writing. As technological innovation has minimized the writing space and increased its portability, the interface has been radically altered. With the keyboard reduced to fingertip control and the screen transformed to a compact-sized mirror, intimacy between user and device is increased, along with the infinitesimal possibilities for personal production afforded when writing goes on the move. With reference to location-based mobile "writing," I will explore this new form of self-reflective digital expression and theorize models for engaging this new personal interface.
Scott Rettberg - 07.01.2013 - 23:07
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The Ethos of "Life": digital writing and the temporal animation of space
When we strip the lexical band-aid ‘embodiment’ off the more than 350 year-old wound inflicted by the Cartesian split of mind and body, we find animation, the foundational dimension of the living. Everything living is animated. Flowers turn toward the sun; pill bugs curl into spheres; lambs rise on untried legs, finding their way into patterned coordinations. The phenomenon of movement testifies to animation as the foundational dimension of the living.
We propose that the importance of movement in the distribution of space and time is one of the things digital media works make palpable. While western aesthetics – consonant with its spatialised images of subjects and objects – has traditionally paid more attention to spatial form, this is being challenged by new forms of mobility made possible by digital media. These provide both the opportunity for immersion in mediated and programmed/programmable environments, but also the opportunity to move through existing and technologically augmented environments in different ways, using different surfaces and forms of literary inscription.
Stig Andreassen - 25.09.2013 - 15:05
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Beyond the Googlization of Literature: Writing Other Networks
It's true, poets have been experimenting with producing writing (or simply writing, just writing of a sort not familiar to us - writing as input and writing as choosing) with the aid of digital computer algorithms since Max Bense and Theo Lutz first experimented with computer-generated writing in 1959. What is new and particular to the 21st century literary landscape is a revived interest in the underlying workings of algorithms, not just a concern with the surface-level effects and results that characterized much of the fascination in the 1970s and 1980s with computer-generated writing. With the ever-increasing power of algorithms, especially search engine algorithms that attempt not just to "know" us but to in fact anticipate and so shape our every desire, our passive acceptance of these algorithms necessarily means we cannot have any sense of the shape and scope of how they determine our access to information, let alone shape our sense of self which is increasingly driven by autocomplete, autocorrect, automata.
Daniela Ørvik - 17.02.2015 - 15:47
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New Work on Electronic Literature and Cyberculture
Electronic (digital) literature is developing in every corner of the world where artists explore the possibility of literary expression using computers (and the internet). As a result, innovations in this genre of literature represent unique developments and there is a growing corpus of scholarship about all aspects of electronic literature including the perspective of digital humanities. Contributors to New Work on Electronic Literature and Cyberculture, a special issue of CLCWeb: Comparative Literature and Culture explore theories and methodologies for the study of electronic writing including topics such as digital culture, electronic poetry, new media art, aspects of gender in electronic literature and cyberspace, digital literacy, the preservation of electronic
literature, etc.Maya Zalbidea - 11.08.2015 - 10:48
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Letter to an Unknown Soldier: A Participatory Writing Project
This paper will present Letter to an Unknown Soldier, a new kind of war memorial, made entirely of words. Created by writers Neil Bartlett and Kate Pullinger, the project was commissioned by Britain’s 14-18 NOW to mark the centenary of the outbreak of WW1. Inspired by Charles Jagger’s 1922 bronze statue of a soldier, who stands on Platform One of Paddington Station, London, reading a letter, the digital artwork invited everyone in the country to write their own letter to the soldier.
Letter to an Unknown Soldier began with letters commissioned from 50 well-known UK-based writers; it opened to the public for submissions from mid-May 2014, and all the letters received to date went online on 28 June (the centenary of the assassination of Archduke Ferdinand). The website remained open for submissions for 37 days, until 4 August (the centenary of Britain’s declaration of war). The project quickly snowballed in popularity. By its close, more than 21,400 letters had been received from around the world.
Hannah Ackermans - 16.11.2015 - 10:03
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The Practice of Research: A Methodology for Practice-Based Exploration of Digital Writing
In the fields of literature, creative writing, and media studies, creative practice and critical analysis have long been parallel and complementary activities; the poet’s creative experience gives her unique insights into the poetry of others. Direct experimentation for the purposes of critical research, however, has long been relegated to science. Practice-based research, also called action research, is a tried and tested methodology in medicine, design, and engineering. While it has always been present to some extent in the arts and humanities, though generally restricted to practice and research, in recent years artistic practice has developed into a major focus of research activity, both as process and product, and several recent texts as well as discourse in various disciplines have made a strong case for its validity as a method of studying art and the practice of art.
Hannah Ackermans - 28.11.2015 - 14:28
