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The Creative Imperative
Expanded concepts of agency permit us to question what or who can be an active participant in creative activity, allowing us to revisit the debate on authorship. We can ask whether creativity might be regarded as a form of social interaction. How might we understand creativity as the interaction of people and things rather than as an outcome of action?
Whilst creativity is often perceived as the product of the individual artist, or creative ensemble, it can also be considered an emergent phenomenon of communities, driving change and facilitating individual or group creativity. Creativity may be regarded as a performative activity released when engaged through and by a community and thus understood as a process of interaction.
Eric Dean Rasmussen - 08.09.2011 - 16:34
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Can We Help Being Creative?
People on the Rai Coast of Papua New Guinea take responsibility for the fertility and reproduction of land and people. Through gardening, hunting, ceremony and initiation, they are continually ‘creating’: both people/places, and the conditions for the emergence of these things as recognisably human. Engaging in the continual creation of the human world is not optional for them but intrinsic to what it means to be a human being. Creativity is necessarily distributed in such circumstances, power over creation or destruction oscillates, but to be a person means participation. As such, the emergence of persons or things, as objects of contemplation, or exchange, or value and beauty, are achieved momentarily as elements of the wider process of which they are part and through which they have meaning.
Eric Dean Rasmussen - 08.09.2011 - 16:41
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The Flash Community: Implications for Post-Conceptualism
Complimenting a broader international research paradigm shift, Electronic Literature scholars and practitioners alike have expressed a desire to expand the field to include deep collaborations with other disciplines. In achieving such a goal any original indigenous ideologies and aesthetics may be challenged. This dialectical tension between striving to be niche/identifiable/original in a mixed discipline economy faced with contemporary descriptors of ‘human experience’ such as Baumanr’s Liquid Modernity (2000), Antonelli’s Elasticity (2008) or even Turkle’s "life mix" (2011) remains key to facing this challenge.
Using new interviews, emergent theories and archival resources this paper argues that the Flash community has already faced the issue of contemporary homogeneity driven by our on-going context of rapid technological change, and can be regarded as an exemplar of post-conceptual experimentalism. After a comparative analysis between the Flash Community and Electronic Literature the paper goes on to explore other new insights and considers the implications of being post-conceptual as a future opportunity and/or risk for Electronic Literature.
Eric Dean Rasmussen - 23.03.2012 - 07:21
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Interactive Fiction Communities: From Preservation through Promotion and Beyond
The interactive fiction (IF) community has for decades been involved with the authorship, sharing, reading, and discussion of one type of electronic literature and computer game. Creating interactive fiction is a game-making and world-building activity, one that involves programming as well as writing. Playing interactive fiction typically involves typing input and receiving a textual response explaining the current situation. From the first canonical interactive fiction, the minicomputer game Adventure, the form has lived through a very successful commercial phase and is now being actively developed by individuals, worldwide, who usually share their work for free online.
Eric Dean Rasmussen - 23.03.2012 - 07:24
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Digital Literature in France
Serge Bouchardon's paper concludes with the observation that the field of digital literature "is based on each country's own conception of literariness, of the digital medium, as well as on the relation between the two" and completes his article with a question to be considered in future research on communities, asking if digital literature is a coherent international field or a mere collection of cultural specificities. Giving an account of how digital literature in France evolved theoretically and historically through the creation of creative works and their traditional filiations, within a study of two socio-technical devices, he also analyzes how a particular mailing list, "a reflexive device" of a community possibly contributes to the construction of the field. His contribution comes along with a rich collection of links to various French actors in the field.
(Source: Article abstract.)
Eric Dean Rasmussen - 23.03.2012 - 15:36
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Growing up Digital: The Emergence of E-Lit Communities in Spain. The Case of Catalonia “And the Rest is Literature”
Starting with the famous last words of Hamlet “and the rest is silence”, I would like to introduce Catalan e-lit communities and their experience of digital literature. The Hermeneia Research Group has been one of the pioneers in the field in Spain and has been developing many different activities for the last ten years. Lately it has been promoting a public debate in Literary Societies on Digital Literature (Premis Octubre in Valencia (2009), Catalan and Castillian Association of Writers (AELC/ACEC), Spanish Society of Comparative Literature, Alacant (2010) etc.). Certainly, the celebration of the e‐poetry festival 2009 in Barcelona was one of the big events that supported this open debate on that matter. In this paper there is a special space for one of these activities, which – for the last five years – we have been trying to encourage: creativity. The establishment of the international Ciutat de Vinaròs awards is one of these activities.
Patricia Tomaszek - 29.04.2013 - 15:59
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Topdown Digital Literature: The Effects of Institutional Collaborations and Communities
Contrary to what one might think, institutions play an important role in the production, preservation, and funding of electronic literature. Due to the absence of traditional gate-watchers like publishers and newspaper critics, the function of selection, distribution, and reception of this work has been taken over partly by anthologies, reviews and criticism that are produced in an academic climate. Artists need the necessary channels for preservation, distribution, and critical evaluation of the work, channels that have the power to create “cultural capital”. Even the production of work often takes place in an academic or institutional setting. Literary festivals, conferences and workshops form temporary communities in which planned collaboration takes place. This article addresses institutionalized and planned collaboration and its effects on the production, the presentation, and the content of digital literature.
(Source: Author's abstract)
Patricia Tomaszek - 29.04.2013 - 16:01
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From Concrete to Digital Poetry: Driving Down the Road of Continuity? A Personal Report from Norway
In this contribution I discuss my practice as concrete and visual poet with a special mode of creation from paper-based works to digital video-poems. I trace my path through the paper by describing some of my earlier works that built the basis for the concepts behind the animated works svevedikt (2006), LYMS (2009), when (2011), and natyr (2013). My aim is to express my artistic position at the time I visited the E-Poetry Festival in Paris 2007, and thereby entered the “e-lit-family” for the first time. It is my wish to explain how I experienced the festival in several ways: the relation between the presentation of papers and works, the variety of the works and performances, the impressions of meeting a well-established community, and a comparison between the festival and arrangements in the late sixties from an ideological perspective. To accomplish this, I will (after a short discussion of terms and contextualization) provide a description of my background as visual artist, and the different sorts of poetry I have created before I entered the electronic literature community in 2007. Then I want to focus on how I was influenced by the festival and the community.
Patricia Tomaszek - 29.04.2013 - 16:03
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The Ballad of the Internet Nutball: Chaining Rhetorical Visions from the Margins of the Margins to the Mainstream in the Xenaverse
This dissertation is just one portal into the cyberspace-based virtual world called the "Xenaverse," so named because of its association with the world-wide syndicated television program, "Xena: Warrior Princess." The Xenaverse cannot be contained by this dissertation, but this project seeks to link and merge with the webbed Xenaverse culture in cyberspace. To learn about the Xenaverse you must step through a portal, become immersed and explore, both within and beyond the blurred boundaries of this dissertation, and into the Xenaverse itself. When you are ready to leave, you will have to find your way out, for just as this hypertextual dissertation has an entry portal, it also has an exit portal, a space for you to debrief and share your thoughts on your way out, to contribute to the ongoing dialogue that is this dissertation web on the Internet.
Patricia Tomaszek - 02.10.2015 - 10:51
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ELMCIP Knowledge Base Seminar Authors Feedback session
A session from the ELMCIP Electronic Literature Knowledge Base symposium at the University of Bergen, April 27, 2018, focused on results of a user survey.
Scott Rettberg - 01.05.2018 - 23:44
