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The Ciberia Project: An Experiment In Digital Hermeneutics
This article presents “Ciberia”, a collection of electronic literature works in Spanish, housed in OdA 2.0., a learning objects‟ repository of the University Complutense of Madrid. The Ciberia project involves experimentation at the humanistic and technological level, since it deals with the challenge of archiving digitally-born literary works as well as with the archiving process itself, which we are carrying out in OdA 2.0, a data management system for the creation of learning objects repositories on the Web. OdA allows different researchers to work collaboratively in a simultaneous manner on the data base, they can not only introduce new objects but they can also modify the data model. This entourage allows us to create taxonomies in an inductive rather than deductive manner.
Hannah Ackermans - 20.11.2018 - 10:02
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Poetry for the People? Modern Chinese Poetry in the Age of the Internet
How has the Internet transformed Chinese poetry today? How has the democratization of publishing poetry online challenged the traditional gatekeepers, and how has this affected the quality of modern poetry? Heather Inwood explores these questions and reveals how such tectonic shifts have reinforced the status of poetry as a social form of culture, one that possesses great symbolic importance for China no matter who is doing the writing or critiquing.
Daniel Johannes Flaten Rosnes - 13.06.2021 - 02:43
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Everybody's Poetry
Social media platforms such as Facebook and Twitter serve millions of people who populate digital space with autobiographical avatars and simulacra. Digital selves are curated, edited, and maintained in a perpetual process of digitizing life experience in order to produce an imagined life. The emergence of social media poetics—and, specifically, what I term digital realism—demonstrates the use of the confessional mode in social media. Digital realism gives name to a process of literary production that obscures the lines between life and writing. In this essay, I explore how digital realism operates in the work of multimedia artist Steve Roggenbuck (b. 1987), which draws out and capitalizes on the contradictions of self-fashioning through affective modes of sincerity and failure, in order to explore the limits of popular accessibility that social media platforms and poetics purport to offer.
Daniel Johannes Flaten Rosnes - 13.06.2021 - 03:11
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Borrowed country: digital media, remediation, and North American poetry in the twenty-first century.
How have our ideas about reading and writing poetry been transformed by digital media? In "'Borrowed Country: Digital Media, Remediation, and North American Poetry in the Twenty-First Century," I discuss five American poets who have variously discussed and made use of particular forms of digital media in their work: John Ashbery, Anne Carson, Kevin Young, Steve Roggenbuck, and Patricia Lockwood. I am interested in these poets because they circulate work via traditional sites and networks of publication-individual volumes and poetry journals in print-while maintaining investments in the ways digital modes of writing and publishing have both changed these conventional sites of transmission and created additional venues in which to circulate poetry: e-books, web sites, social media networks.
Daniel Johannes Flaten Rosnes - 13.06.2021 - 03:25
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The Animated Reader: Poetry of "Surround Audience"
Phew! What a journey betwixt East and West that was, the mere description of the process of the process-poem. What [Jonathan Stalling] allows to subtly unfold in these poems are two popular visions of China dreamt up by the West (and it would hardly be controversial to say that the Westerner's dream of China has woven itself thick into the fabric of Chinese reality). The beginning of each poem - here, "Please speak a little louder. I can't hear you" - evokes the businessperson's China, the tourist's phrasebook in which language is a tool, the straightforward economy of exchange in which nothing is lost in the gulf between languages - because nothing has really been said. The end of each poem sounds like a garbled version of appropriated ancient Chinese wisdom and culture: the ending verse, which begins with "persuading guests to drink wine / one silk thread at a time" sounds, to my half-trained ears, like a parodie condensation of the great poet Li Bai mixed into the I Ching with a dash of Confucius to finish.
Daniel Johannes Flaten Rosnes - 15.06.2021 - 21:42
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The Challenge of 21st-Century Literacies
In the second edition of their influential book New Literacies: Everyday Practices and Classroom Learning, Lankshear and Knobel argued that engagement with these practices was “largely confined to learners’ lives in spaces outside of schools.” That was nearly 10 years ago, and in some respects, very little has changed. In many classrooms, there is a lot more technology than there was back then; for instance, the provision of interactive whiteboards, desktops, laptops, and portable devices is better, and there is a greater variety of software and hardware on offer. Yet, even when equipment is available, up to date, and in good working order, problems of curricular integration still arise. Despite all the rhetoric about the importance of new or digital literacies in education, recent curricular reforms and their associated assessment regimes have tended to privilege traditional literacy skills and printed text. An expansive view of new literacies in practice seems hard to realize. Why should this be the case?
Daniel Johannes Flaten Rosnes - 16.06.2021 - 20:49
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Why don’t we read hypertext novels?
Ever since their appearance in the early 1990s, hypertext novels were presented as the pinnacle of digital aesthetics and claimed to represent the revolutionary future of literature. However, as a literary phenomenon, hypertext novels have remained marginal. The article presents some scientifically derived explanations as to why hypertext novels do not have a mass audience and why they are likely to remain a marginal contribution in the history of literature. Three explanatory frameworks are provided: (1) how hypertext relates to our cognitive information processing in general; (2) the empirically derived psychological reasons for how we read and enjoy literature in particular; and (3) the likely evolutionary origins of such a predilection for storytelling and literature. It is shown how hypertext theory, by ignoring such knowledge, has yielded misguided statements and uncorroborated claims guided by ideology rather than by scientifically supported knowledge.
Daniel Johannes Flaten Rosnes - 17.06.2021 - 21:39
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Una nueva colección de literatura electrónica en lengua española en la web de ELMCIP
Una nueva colección de literatura electrónica en lengua española en la web de ELMCIP
Maya Zalbidea - 06.09.2021 - 14:17
