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1. Repurposing and Fitting the Pattern

   Fitting the Pattern is an interactive, animated ‘memoir in pieces,’ that explores aspects of my relationship with my mother, a dressmaker. The design of the user-interface repurposes sewing patterns and their instructional symbols to fuse the interactive process into the narrative world. The familiar mouse pointer is restyled as a series of digital dressmaking tools so the reader becomes actively involved in cutting through memories, pinning down facts, stitching fabrications and unpicking the past. Thus the reader becomes repurposed as the tailor who brings it all together to make the pattern fit the cloth of narrative coherence.

   So now I will untangle various repurposed threads of Fitting the Pattern and expand upon these themes.

   Christine Wilks - 18.06.2016 - 19:00

2. Joined at the Hip: Simone Weil, Quentin Meillassoux

   Joined at the Hip: Simone Weil, Quentin Meillassoux

   Julianne Chatelain - 10.10.2016 - 07:57

3. The CounterText Interview: Stephanie Strickland

   The CounterText Interview: Stephanie Strickland

   Julianne Chatelain - 10.10.2016 - 08:03

4. O Experimentalismo como Invenção, Transgressão e Metamorfose: A PO.EX Revisitada Através de Po-ex.net

   O experimentalismo português iniciou-se na década de 1960, com um propósito comum de conferir ao acto poético valores artísticos, políticos e sociológicos assentes numa ruptura de vanguarda. O presente ensaio situa a intervenção experimental como invenção, transgressão e metamorfose, visto que perpassa as obras dos autores de "Poesia Experimental" e, mais tarde, de um novo conjunto de autores que exploraram a poesia visual, sonora, digital e a performance. Através do arquivo Po-ex.net, que documenta e dissemina o seu estudo, traçam-se dois itinerários, revisitando algumas das obras com carácter interventivo e transformativo, desde os anos 1960 até à actualidade.

   (Fonte: Resumo dos Autores)

   Alvaro Seica - 07.11.2016 - 17:36

5. Editing the Interface: Textual Studies and First Generation Digital Objects

   The article considers "first generation digital objects" from the standpoint of textual studies, considering "digital media themselves from the specific vantage points of bibliography and textual criticism." Kirschenbaum discusses in detail different editions of Michael Joyce's afternoon and Deena Larsen's work in editing an edition of William Dickey's electronic poetry in HyperCard.

   Scott Rettberg - 08.12.2016 - 15:35

6. The New Apparatus of Influence: Material Modernism in the Digital Age

   Throughout this paper, I argue for a reapplication of those theories set out by George Bornstein in Material Modernism. More specifically, I suggest that Bornstein's work should be considered in the context of the textual and literary constructs of the digital age. I begin with an account of those elements from Bornstein's argument that I consider to be of most relevance to this particular discourse, giving particular consideration to what he refers to as the ‘bibliographic code.’ I argue that this notion has gathered fresh momentum now that its potential has been enhanced through new forms of computer-based media. What the material modernists of the modernist movement sought to achieve with the material elements of their works, contemporary scholars and critics can seek to replicate and explore with greater clarity and creativity. The bibliographic code has gained new importance, as the degree by which it can be manipulated, I argue, has been extended significantly.

   James O'Sullivan - 17.01.2017 - 22:15

7. "Flows Dream / Shapes Hold": Tijdsgebondenheid, Overwriting, en Remixen in Generatieve Dichtkunst

   Generatieve dichtkunst is een genre dat voor velen nog onbekend zal zijn. In dit artikel biedt literatuurwetenschapper Hannah Ackermans een nadere kennismaking met deze vorm van e-poëzie. Via een analyse van de online gedichtengenerator Taroko Gorge van Nick Montfort bespreekt zij hoe drie kenmerkende eigenschappen van generatieve literatuur, namelijk tijdgebondenheid, overwriting en remixen, spelen met het idee van auteurschap. In hoeverre is er nog sprake van een auteur als een algoritme de gedichten creëert?

    

    

   Hannah Ackermans - 27.06.2017 - 09:25

8. The Endgame or a Wake?: Tropes of Circularity in Literature Then and Now

   This paper argues that attending to the tropes of circularity featuring in print-based literature proves to be a useful foil for an analysis of electronic literature. Based on the idea that digital literary mechanisms do not obliviate previous circularity-inducing structuring motifs in analog literature, such as labyrinths, chess, rivers, and clockwork, this argument arrives at a crucial time for literature, which is currently the object of intensified debates on beginnings and ends, especially in the context of digitality and multisensory perception becoming central to some aspects of its processes. Accordingly, circular motion is here analysed in its depiction and actuation across several kinds of literary / literal machines, in reflection also on how sensory perception both mediate and is mediated. If literature is conditional upon a series of unique, though interconnected, mechanisms, it seems reasonable not to discard a certain circularity of the senses that is brought into play there and, indeed, given both thematic and formal substance in analog and digital works.

   Diogo Marques - 26.07.2017 - 13:51

9. Grasp All, Lose All: Loss of Grasp and Non-Functional Digital Interfaces in Electronic Literature

   “And one should understand tact, not in the common sense of the tactile, but in the sense of knowing how to touch without touching, without touching too much, where touching is already too much.” Jacques Derrida

   A “hasty conclusion”, perhaps, as stated by Derrida, yet, one that was (and still is) able to cause an intense discussion among philosophers. In his questioning of touch, Derrida draws on Jean Luc Nancy’s philosophy of touch, particularly on the latter’s paradox of intangible tangibility, as a way to explore a slightly different meaning of the verb haptein (to be able to touch, to grab, to attach, to fasten), but also meaning “to hold back, to stop” (Nancy [2003]: 2008, 15).

   Diogo Marques - 26.07.2017 - 15:56

10. Uma Sensação de Ausência Presente. A metáfora de membro fantasma no contexto dos media digitais

    Uma Sensação de Ausência Presente. A metáfora de membro fantasma no contexto dos media digitais

    Diogo Marques - 26.07.2017 - 16:51

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