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1. Digital Vernacular

   This paper will discuss a range of concepts relating to populism in digital media. The vernacular appears to literary scholars as a shift towards democracy (tilting the ideal of readership and the consciousness of the reader towards the Reformation and the Enlightenment). Along with this practical historical shift (facilitating the rise of nations and nationality), the pivot to the popular permitted an expansion of poetic and subjective possibilities in the literary arts. In the US, a second “revolution” of the vernacular takes place in the post-colonial context in rejection of perceived European norms--often with Black expression serving as a space of cultural imagination—both in the literary arts and in mass culture. This shift marked the expansion of American hegemony, beginning with Manifest Destiny and towards Neoliberalism. The result is a complicated genealogy of popular language. What can this tell us about popular culture in a post-digital age?

   Carlos Muñoz - 12.09.2018 - 15:38

2. The Digital Ecology of Canadian Experimental Writing

   In the conclusion of *Literary History of Canada: Canadian Literature in English* (1965), Northrop Frye asserts that there “is no Canadian writer of whom we can say what we can say of the world’s major writers, that their readers can grow up inside their work without ever being aware of a circumference” (821). This paper will partly push against this tendency in Canadian literary criticism and will consider a select instance of Canadian electronic literature. In Frye’s terms, “Canadian sensibility” is “profoundly disturbed” not only by “our famous problem of identity,” which can be, in part, summarized by the question of “[w]ho am I?,” but by the question of “[w]here is here?” (826). I claim that *here* in the question of “where is here?” has become digital; i.e., “we” (as in Canadian writers and critics) are now online and not in the prairies or the lakes or the cityscapes and we live lives in which our identities (along with the potentiality of a national identity) have been outsourced to an indefinite electronic space.

   Miriam Takvam - 03.10.2018 - 15:23

3. Cling-Clang-Cornelius: Digital Sound Poetry as Embodied Posthumanism

   Starting from the problematic gap between the unicity of the human voice and the socio-cultural variables that are unavoidably attached to her expressions, this presentation proposes the phenomenon of ‘sound poetry’ as paradigmatic bridge between a biological reality and its posthuman condition. The underlying reasoning harks back to media artist and philosopher Norie Neumark’s remark that sound poetry like no other mode of artistic expression “stimulates reflection on the uncanny and complicated relation between embodiment, alterity, and signification” (2010). Most notably the appropriation and – literal – embodiment of electronic technologies in digital sound poetry has recently yielded a new dynamic to the performativity of poetic composition. With today’s technical possibility to sample and mediate minimal acoustic nuances in the here-and-now we are allowed a glimpse into the supplement of meaning generated by the meeting between text/script and voice/sound. Such post-human amplification of an intrinsically arch-human act accordingly finds its broader relevance broadside conventional aesthetic standards. 

   Carlos Muñoz - 03.10.2018 - 15:57

4. Transmedia: An Improvisualization

   The transformation of physical phenomena into data —the pass from analog to digital— has played an important role in expanding our understandings of what is art and what it means to be an artist. This transformation has also changed the way we understand and perform with media and has opened innumerable avenues for experimentation within and across different forms of representation. The outcomes of this experimentation could illuminate our knowledge of creative processes. As part of our research on glitch pedagogy and transmediation over the last two years (Peña, James & DLC, 2016), we have experimented with the functionalities of raw data by comparing patterns of mis/representation between textual, aural and visual data. Our inquiries have allowed us to engage in the intervention and purposeful disruption of these patterns while shedding light on the underlying processes behind these disruptive practices. Delivered as a performance, this paper will demonstrate a few such practices. In our role as noise-musicians, we will improvisualize a transmediatic piece while describing the process behind it.

   Chiara Agostinelli - 15.10.2018 - 01:55

5. A Poetics Of Probabilities: A Critical Analysis Of The Project Library Of Babel

    

   Chiara Agostinelli - 15.10.2018 - 02:14